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THE    HOLY   XIGHT  ^DETAIL) 
Dresden  Gallery 


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HOW  TO  SHOW  PICTURES  TO 

CHILDREN 


BY 

ESTELLE  M.  HURLL 

AUTHOR  OF  THE  RIVERSIDE  ART  SERIES 


BOSTON     NEW  YORK     CHICAGO 
HOUGHTON    MIFFLIN   COMPANY 

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COPYRIGHT,    1914,   BY  ESTELLE  M.   HURL!* 


Cfjc  &ibe rstfic  JBrcSS 

CAMBRIDGE  .  MASSACHUSETTS 
U   .   S   .    A 


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To  J.  C.  II. 

WHOSE  HELP,  ENCOURAGEMENT  AND  CRITICISM 
HAVE  MADE  THE  IMPOSSIBLE  POSSIBLE 


419773 


PREFACE 

The  first  suggestion  for  this  little  book  came  from 
Miss  Elizabeth  McCracken,  editor  of  Home  Progress, 
whose  enthusiasm  and  sympathy  have  been  a  con- 
stant inspiration.  In  her  wide  correspondence  with 
mothers  in  regard  to  the  training  of  children,  she  dis- 
covered the  need  of  a  book  giving  practical  advice 
about  pictures  for  children.  A  similar  report  came 
from  the  libraries,  where  the  same  need  had  long  been 
noticed  at  the  consulting-desks.  The  call  from  art 
educators  and  public  school  teachers  has  been  equally 
urgent.  As  the  custom  of  hanging  pictures  in  the 
schoolroom  has  become  almost  universal,  the  demand 
has  arisen  for  helpful  information  in  matters  of  art.  I 
am  especially  grateful  to  Mr.  Henry  Turner  Bailey, 
editor  of  the  School  Arts  Magazine,  and  Mr.  James 
Frederick  Hopkins,  director  of  the  Massachusetts 
Normal  Art  School,  for  their  words  of  encouragement 
and  counsel.  My  chapter  on  the  "Use  of  Pictures  in 
the  Schoolroom"  owes  much  to  valuable  advice  from 
some  experienced  teachers.  Z\I iss  Mary  Austin,  of  the 
New  Bedford  High  School,  a  pioneer  in  the  use  of 
pictures  to  illustrate  historical  study,  has  shown  me 
how  much  can  be  done  in  this  line.  Miss  Josephine  B. 
Stuart,  supervisor  of  the  Primary  Schools  in  New 
Bedford,  has  cooperated  cordially  in  pointing  out  the 
many  advantages  of  pictures  in  the  lower  grades.  To 
her,  and  to  Miss  Lucy  Bedlow,  director  of  drawing  in 


vi  PREFACE 

New  Bedford,  I  am  indebted  for  the  privilege  of  put- 
ting methods  and  theories  to  a  practical  test  in  the 
schoolroom. 

I  have  had  three  aims  in  preparing  the  following 
chapters:  first,  to  answer  some  theoretical  questions 
concerning  the  hows,  whys,  and  whatabouts  of  pic- 
tures; second,  to  offer  practical  suggestions  to 
mothers  and  teachers  about  showing  pictures  to  chil- 
dren; third,  to  supply  information  about  the  most 
desirable  picture  material  for  children.  The  repertory 
of  the  art  dealers  is  constantly  increasing,  and  the 
time  will  no  doubt  soon  come  when  all  the  important 
pictures  of  public  collections  will  be  available  in 
popular  reproductions. 

ESTELLE   M.   HURLL. 
Watertown,  Mass., 
May,  1,  1914. 


CONTEXTS 

I.  INTRODUCTION 

The  child's  delight  in  pictures  —  The  vital  questions 
concerning  the  child's  pictures  —  Permanent  effect  of  good 
and  had  art  on  the  taste  —  Difference  between  the  general 
knowledge  of  books  and  that  of  pictures  —  The  multipli- 
cation of  process  reproductions  —  How  companionship 
helps  the  child  in  picture  study  —  Picture  enjoyment 
spoiled  by  mechanical  methods 1 

II.  THE   CHILD  AND  THE   PICTURE 

The  child's  first  pleasure  in  pictures  due  to  recognition 

—  The  element  of  curiosity  —  The  story  picture  and  the 
appeal  to  the  imagination  —  Subjects  to  which  children 
are  indifferent,  portraiture  and  pure  landscape  —  Prepar- 
ing the  way  for  enjoyment  of  nature  pictures  —  Subjects 
to  withhold  from  children:  the  vulgar  and  sensuous,  the 
repugnant  and  horrible  —  Mistake  of  forcing  uninterest- 
ing subjects  upon  the  child  —  The  child's  unaffected  joy 

in  art 6 

III.  HOW   THE   PICTURE   IS   MADE 

Advantage  to  mothers  and  educators  in  knowing  some- 
thing of  the  construction  of  a  picture  —  Ruskin's  defini- 
tion of  composition  —  Principality  —  Favorite  composi- 
tional forms  of  various  painters  —  Repetition  —  Exam- 
ples -Contrast  —  Examples  —  Consistency  and  contin- 
uity—  Distinction  between  the  subject  and  the  art  of  a 
pietun — The  child's  gradual  awakening  to  the  beauties 
of  composition  —  Reference  books 1C 

IV.  HOW  TO  MAKE   PICTURES  TELL  STORIES 
The  value  of  pictures  in  supplying  stories  to  tell  children 

—  The  Aurora  —  Difference  in  children  in  hi  owing  the 
-ies  of  the  home  pictures  —  The  Children's  Picture 

H  a  Story  of  Landseer's  Shoeing  —  Prince  Ii.ilt;i>;ir 
on  his  Pony — Raphael's  St.  Michael  and  the  Dragon- 
Child's  share  in  the  story-telling  —  Picture  story-telling 


viii  CONTENTS 

in  schools  —  Millet's  Feeding  her  Birds  —  Distinction 
between  this  method  and  picture  reading  as  pursued  in 
some  schools  —  The  story  of  Christ's  life  told  in  pictures 

—  Christmas  story  program  in  pictures  and  verse   ...     26 

V.  THE  GAME  OF  PICTURE-POSING 

An  old  game  in  a  new  form  —  Picture-posing  fixes  pic- 
ture in  the  memory  and  helps  in  self-expression  —  Prac- 
tical experiments  in  picture-posing  in  the  schools  —  Mil- 
let's Sower  —  Titian's  Lavinia  —  Murillo's  Fruit  Venders 

—  Madame  Le  Brun  and  her  Daughter  —  Rubens's  Two 
Sons  —  William  M.  Chase's  Alice  —  Larger  possibilities 
for  the  game  in  the  home  —  Picture-posing  in  amateur 
photography  —  Desirable  qualities  in  pictures  chosen  for 
posing  —  Lists       43 

VI.  PRACTICAL  SUGGESTIONS  TO  THE  MOTHER 
FOR  THE  CHILD'S  PICTURE  EDUCATION 

Decorations  of  the  nursery  —  Illustrated  books  — 
Scrapbooks  —  Visiting  art  museums  and  exhibitions  — 
The  use  of  the  camera  —  Home  picture  games    .     ...     56 

VII.  THE  USE  OF  PICTURES   LN  THE  SCHOOL- 
ROOM 

Twofold  value  of  pictures  in  school,  for  decoration  and 
to  enrich  the  courses  of  study  —  Pictures  in  the  primary 
school  to  illustrate  the  first  ideas  taught  the  child,  ani- 
mals, family  love,  labor  —  Pictures  in  language  work  as 
subjects  for  compositions  —  Distinction  between  story- 
telling and  description  —  Pictures  in  the  study  of  litera- 
ture —  Portraits  of  authors  —  Illustrations  of  poems  — 
Indirect  illustration  —  Shakespearean  collections  —  The 
evolution  of  book-making  —  Illustrations  of  mythology  — 
Pictures  in  history  —  Portrait  list  —  Illustrations  of 
ancient  history  —  French  history  —  English  history  — 
American  history  —  Care  not  to  let  the  utilitarian  view 
outweigh  the  artistic 65 

VIH.   ANIMAL  PICTURES 

Essential  qualities  of  good  animal  art  —  Animal  art 
among  the  ancients  —  Animal  painting  among  early  Chris- 


CONTENTS  ix 

tian  artists  —  Beginning  of  modern  animal  painting  in 
seventeenth  century  —  Child's  favorites,  domestic  pets. 
then  wild  animals  —  Pictures  <>f  children  with  pets — 
Many-sided  animal  life  shown  by  collation  of  pictures  by 
different  artists:  dog,  lion,  deer,  horse,  sheep,  fox  —  Cat- 
tle painting  in  Dutch  school  —  French  schools  —  Land- 
seer  and  Bonheur  —  Henrietta  Ronner's  eats  —  Photo- 
graphs of  animals  —  Reference  books  —  Lists     ....     84 

LX.  PICTURES  OF  CHILDREN 

Popularity  and  value  of  pictures  of  children  —  Late 
historical  development  of  subject  —  The  Madonna  sub- 
ject—  Contrasting  motives  in  two  great  Raphaels  — 
Charity  —  Holy  Family  —  Subjects  from  infancy  of 
Jesus  —  Child  angels  —  Value  of  child  portraiture  — 
Rarity  in  Renaissance  and  popularity  in  seventeenth  cen- 
tury —  Essentia]  qualities  of  good  child  portraiture  — 
\  elasquez  —  Greuze  —  Van  Dyck  —  English  eighteenth- 
century  school  —  Reynolds  and  his  group  —  Modern 
examples  —  Lists  —  Reference  books 97 

X.  STORY  PICTURES 

Importance  of  choosing  good  picture  material  for  story- 
telling —  Distinction  between  building  story  on  a  picture 
and  drawing  story  out  of  a  picture  —  Story  pictures 
which  never  lose  interest  and  those  which  go  out  of 
fashion  —  Murillo's  Beggar  Boys  —  Jan  Steen's  picture  of 
child  life  —  Peter  de  Hooch's  domestic  little  girls  — 
Variety  of  story  interests  appealing  to  child  in  pictures  — 
Dutch    seventeenth-century    school  —  Chardin  —  Millet 

—  Breton  —  Pictures  of  haymaking  —  Horatio  Walker  — 
1 '  tures  <  »f  sea  life  —  Bradford  —  Winslow  Homer  —  The 
Fighting  Temeraire  and  the  Constitution  —  Story  pic- 
tures illustrating  lives  of  saints,  heroes,  and  martyrs  — 
St.  Margaret  —  St.  Francis  —  St.  Anthony  —  St.  Chris- 
topher—  Maiden  saints  —  Allegory  in  mural  decoration 

—  Life  of  Jesus  —  Lists       117 

APPENDIX 

LisL->  of  Books  for  a  Working  Library  in  Art  Study  .     .   133 


ILLUSTRATIONS 

Correggio:  The  Holy  Night  (Detail)  .      .      .  Frontispiece 

Reynolds:  Penelope  Boothby Facing  8 

Raphael:  St.  Michael  slaying  the  Dragon     ...  22 

Landseer:  Shoeing 30 

Velasquez:  Prince  Baltasar  Carlos  on  nis  pony        .  32 
Famous   Pictures   as   Posed    by  School    Children  — 

(1)  Le  Brun:  Madame  Le  Brun  and  her  Daughter 

(2)  Millet:  The  Sower 46 

Titian:  Lavinia 48 

Millet:  Feeding  nER  Birds 58 

Correggio:  Diana 74 

Michelangelo:  The  Delphic  Sybil 76 

Landseer:  A  Distinguished  Member  of  the  Humane 

Society 86 

Reynolds:  Miss  Bowles 88 

Murillo:  Jesus    and    John,    "The    Children    of   the 

Shell" 100 

Van  Dyck:  Charles,  Prince  of  Wales       ....  106 

Murillo:  The  Fruit  Venders 118 

Titian:  St.  Christopher 126 


HOW  TO  SHOW  PICTURES 
TO  CHILDREN 

I 

INTRODUCTION 

In  preparing  the  Riverside  Art  Series  for  publica- 
tion some  years  ago,  I  first  came  to  a  full  realization 
of  what  a  picture  may  mean  in  a  child's  life.  It  is  like 
a  magic  carpet  transporting  him  to  distant  realms,  or 
like  Aladdin's  lamp  bringing  him  for  the  time  being 
his  heart's  desire.  No  figure  is  too  fanciful  to  express 
the  wondrous  capacity  it  has  for  quickening  the 
imagination  and  giving  joy.  "We  can  hardly  overstate 
its  influence  upon  the  mind  and  character.  It  is 
sometimes  said  that  this  is  a  mechanical  age  and  ours 
is  a  mercenary,  not  an  art-loving,  people.  But  this  is 
not  the  testimony  which  conies  from  the  home  and 
school.  The  children  all  love  pictures,  love  to  look  at 
them,  love  to  hear  about  them,  love  to  possess  them. 
And  we,  who  have  the  shaping  of  their  youthful 
tastes,  arc  eager  to  guide  them  aright.  We  want  to 
consider  what  pictures  our  children  like  best,  and 
why;  what  pictures  W€  want  them  to  like,  and  why; 
how  we  c;  n  cultivate  their  taste  for  the  best  art,  and 
where  W€  an  find  the  material.  Such  questions  con- 
cern the  deep  issues  of  life.  If  the  child's  single 
moment   of  pleasure  were  all  that  was  to  be  con- 


2       HOW  TO  SHOW  PICTURES  TO  CHILDREN 

sidered,  the  matter  would  be  simple  enough.  The 
very  fact  that  the  imagination  needs  so  little  to  set 
it  going,  and  supplies  so  many  deficiencies,  makes  his 
elders  a  bit  careless  about  the  pictures  they  give  him. 
If  a  poor  thing  affords  him  as  much  enjoyment  as  a 
masterpiece,  why  bother  to  get  anything  better?  As 
well  give  him  a  comic  supplement  as  a  Raphael's 
Madonna,  and  trouble  no  more  about  it.  But  the 
faithful  educator  is  concerned  with  the  child's  future, 
and  the  object  of  all  culture  is  rounded  development. 
Everything  in  the  child's  environment  is  chosen  for 
this  end,  and  the  pictures  should  be  among  the  most 
carefully  selected  of  all  his  surrounding  influences. 

It  is  an  almost  cruel  fact  of  psychology  that  a  lack 
of  youthful  training  can  never  be  fully  made  up  in 
after  years.  We  see  the  inexorable  law  illustrated  in 
the  lives  of  hundreds  of  people  about  us,  in  manners, 
speech,  and  taste.  So  if  children  are  surrounded  by 
sentimental  or  meretricious  pictures,  they  are  seri- 
ously handicapped  in  after  life  in  their  susceptibility 
to  noble  art.  On  the  other  hand,  the  young  mind  fed 
only  on  the  best  pictures  will  by  and  by  turn  natu- 
rally to  the  good  and  reject  the  inferior.  If  the  taste 
is  cultivated  in  the  impressionable  years,  it  will 
become  as  sensitive  to  aesthetic  impressions  as  a  deli- 
cately adjusted  instrument  to  atmospheric  condi- 
tions. The  theory  is  clear  enough,  but  there  have 
been  many  difficulties  in  its  practical  application. 
For  obvious  reasons  graphic  art  is  not  nearly  so 
widely  understood  or  appreciated  as  literature.  It  is 
over  four  centuries  since  the  printing  press  brought 


INTRODUCTION  3 

books  into  general  circulation,  but  it  is  less  than  half 
a  century  since  photography  brought  good  pictures 
within  general  reach.  It  is  no  wonder,  then,  that 
many  who  are  well  versed  in  reading  are  still  more  or 
less  ignorant  of  art.  Some  of  us  whose  childhood  fell 
in  the  seventies  were  brought  up  among  well-filled 
bookshelves,  while  the  home  pictures  were  few  in 
number  and  crude  in  quality. 

The  last  twenty-five  years  have  seen  a  complete 
revolution  in  this  matter.  The  home  and  the  school 
may  now  be  decorated  with  the  same  art  treasures 
that  millionaires  enjoy,  and  all  through  the  magic  of 
process  reproduction.  The  photographer  has  carried 
his  camera  into  every  corner  of  the  earth  and  has 
photographed  all  the  wonders  of  nature  and  archi- 
tecture. Without  setting  foot  out  of  doors  we  may 
travel  all  around  the  world  in  imagination  by  cover- 
ing our  walls  with  photographic  views.  Even  more 
remarkable  is  the  photographic  work  done  in  all  the 
great  galleries  of  painting  and  sculpture,  reproducing 
for  us  the  world's  masterpieces.  The  Greek  marbles 
of  the  Vatican  and  the  British  Museum,  and  the 
works  of  Michelangelo,  may  now  be  as  familiar  to  the 
children  of  America  as  they  once  were  to  the  children 
of  Athens  and  of  Florence.  The  paintings  of  Raphael 
and  Titian,  of  Holbein  and  Diirer,  of  Rembrandt  and 
Frans  Hals,  of  Rubens  and  Van  Dyck,  of  Velasquez 
and  Murillo,  of  Reynolds  and  Gainsborough,  of 
Corot  and  Millet,  of  a  multitude  of  contemporary 
painters,  French,  German,  Dutch,  Italian,  Scandi- 
navian, English,  and  American,  are  all  within  our 


4        HOW  TO  SHOW  PICTURES  TO  CHILDREN 

reach,  if  we  will  put  forth  our  hands  to  take  them. 
Besides  photographic  prints,  there  are  all  sorts  of  so- 
called  process  pictures,  photogravures,  half-tones, 
and  so  on,  ranging  in  price  from  several  dollars  to  one 
cent  each.  The  reproductions  are  in  delicately 
shaded  grays  and  browns,  some  even  in  facsimile 
colors,  interpreting  the  original  beauty  of  the  pictures 
with  wonderful  accuracy.  With  such  treasures  at  our 
command,  the  coming  generation  ought  to  become  as 
familiar  with  good  pictures  as  with  good  books,  and 
should  be  able  to  discriminate  as  correctly  in  artistic 
as  in  literary  matters.  Educators  and  parents  are 
striving  towards  this  end. 

A  child's  pleasure  in  a  picture  is  greatly  increased 
by  the  sympathetic  companionship  of  an  older  per- 
son. Though  his  imagination  is  keener  than  his 
elder's,  his  powers  of  observation  are  presumably  less 
developed.  His  natural  impatience  to  turn  the  page 
of  a  book,  or  hurry  on  to  the  next  room  of  a  gallery, 
can  be  restrained  by  pointing  out  the  details  of 
the  composition.  In  forming  habits  of  observation, 
the  memory  is  trained  to  retain  distinct  images  of  the 
pictures  worth  knowing.  It  is  surprising  how  vague 
our  ideas  are  of  many  supposedly  familiar  things. 
The  Sistine  Madonna,  for  instance,  is  probably  one  of 
the  best  known  pictures  in  the  world,  but  if  one  were 
called  upon  to  describe  it  fully,  how  many  recall  the 
foreshortened  hand  of  the  Pope,  the  crossed  legs  of  the 
Child,  the  Virgin's  bare  feet,  and  other  similar  details? 
A  clear  memory  image  of  a  masterpiece  is  a  sort  of 
touchstone  to  carry  about  as  a  test  for  other  pictures. 


INTRODUCTION  5 

The  first  rule  in  all  our  dealings  with  children  is  not 
to  talk  down  to  them,  and  this  is  especially  true  in 
selecting  their  pictures.  Nothing  is  too  good  for 
them.  Some  pictures  may  treat  subjects  beyond  a 
child's  comprehension,  but  none  are  beyond  him  in 
artistic  excellence.  The  best  children's  pictures  were 
not  made  for  children  at  all.  Only  the  illustrators  of 
children's  books  have  consciously  addressed  a  juve- 
nile audience.  The  great  masters  worked  in  obedience 
to  their  own  heavenly  vision,  and  it  is  one  of  the  tests 
of  success  when  a  picture  appeals  equally  to  all  ages 
and  all  sorts  and  conditions. 

Pictures  are  primarily  intended  for  pure  aesthetic 
joy,  and  it  is  a  thousand  pities  to  assume  a  didactic 
tone  in  showing  them  to  children.  Let  them  be,  like 
the  stories  we  tell,  among  their  dearest  delights. 
Above  all  things  else  we  must  avoid  mechanical 
methods  of  instruction  as  the  most  deadly  blight  to 
the  imagination.  We  cannot  be  too  careful  lest  the 
child's  perception  be  dulled  by  prosaic  influences,  or 
his  taste  vitiated  by  unworthy  material.  For  the 
imagination  is  the  key  by  which  we  unlock  the  doors 
of  beauty.  While  the  divine  gift  is  still  unspoiled,  the 
child  is  most  keenly  alive  to  the  joys  of  life. 


II 


THE    CHILD   AND  THE  PICTURE 

In  selecting  pictures  for  children  we  must  take  the 
child's  point  of  view.  He  likes  a  picture  for  what  it 
shows  him.  His  interest  is  in  the  subject,  not  in  the 
art.  He  does  not  know  or  care  whether  it  is  beautiful, 
or  cleverly  treated,  rare  or  famous  or  what  not.  He 
wants  to  know  what  it  is  about.  If  it  represents 
something  which  pleases  him,  that  is  enough.  He  has 
reasons  of  his  own  for  his  preferences,  apparently 
growing  out  of  very  simple  psychological  principles. 
It  is  for  us  to  study  and  gratify  these  childish  prefer- 
ences, making  them  a  stepping-stone  for  the  higher 
appreciation  of  art. 

I  recently  asked  a  young  mother  what  pictures  her 
little  boy  likes  best.  "Animals,"  was  the  prompt  reply. 
Glancing  around  the  nursery,  I  saw  a  perfect  men- 
agerie of  toys:  horses,  dogs,  cats,  sheep,  etc.,  in  every 
imaginable  material  from  rubber  and  china  to  the 
most  realistic  imitations  in  skin  and  fur.  The  father 
had  begun  in  the  child's  infancy  to  bring  home  toys  of 
this  sort,  and  it  was  a  natural  transition  from  toy  to 
picture.  A  baby  girl's  first  toy  is  commonly  the  doll, 
and  from  this  the  natural  transition  is  to  pictures  of 
babies.  If  daddy  happens  to  be  fond  of  yachting, 
the  boy's  first  toys  are  likely  to  be  boats,  and  from 
these  he  is  ready  for  shipping  scenes.   If  mother  has 


THE   CHILD  AND  THE   PICTURE  7 

a  fad  for  gardening,  the  little  girl,  brought  up  among 
flowers,  will  naturally  like  pictures  of  flowers.  Both 
boys  and  girls  spontaneously  point  out  other  chil- 
dren as  soon  as  they  begin  to  "take  notice."  Natu- 
rally enough,  then,  the  pictures  of  children  secure 
their  immediate  response.  In  short,  the  child's 
first  pleasure  in  pictures  seems  to  consist  largely  in 
the  principle  of  recognition.  He  is  proud  and  pleased 
to  be  able  to  identify  an  object.  You  arouse  his 
interest  in  a  picture  by  pointing  out  the  familiar 
features.  The  other  day  I  dropped  a  bank-book 
which  opened  on  a  small  woodcut  of  the  "Institution 
for  Savings,"  a  very  uninteresting  edifice.  My  four- 
year-old  nephew  fell  upon  it  eagerly.  "See  the 
cunning  house,"  he  exclaimed,  gazing  at  it  with  the 
rapture  of  Ruskin  before  the  cathedral  of  Amiens. 
This  plainly  was  the  sheer  joy  of  recognizing  a 
familiar  thing  in  miniature. 

The  child's  first  favorites,  then,  in  the  way  of 
pictures,  are  from  the  subjects  most  familiar  to  him 
in  his  toys  and  surroundings.  These  are  easy  to 
supply,  and  should  be  in  the  best  possible  form,  artis- 
tically and  mechanically.  They  should  represent 
large,  plain,  simple  objects,  making  what  educators 
call  a  "unit."  Many  designs  intended  for  children 
are  made  in  a  decorative  style  to  please  the  illustra- 
tor, and  are  not  at  all  suitable  for  the  young.  Intri- 
cacy of  line  is  confusing  to  the  child's  rye.  A  figure 
must  emerge  well  from  the  background  to  be  clearly 
distinguished.  Impressionism  is  not  for  children. 
At  fir.^t  the  pictured  object  is  not  so  satisfying  as  the 


8        HOW  TO  SHOW  PICTURES  TO  CHILDREN 

real  thing,  because  it  cannot  be  handled.  The  pic- 
tured baby  cannot  be  hugged,  nor  the  pictured 
animal  dragged  about  the  nursery  floor.  In  the  course 
of  time,  however,  pictures  make  a  place  of  their  own 
in  the  child's  affections.  They  are  perhaps  the  most 
restful  of  all  his  playthings.  Certainly  they  afford  his 
most  quiet  amusement  —  much  to  the  mother's  relief. 

Next  to  the  principle  of  recognition  in  the  child's 
picture  experience  comes  the  element  of  curiosity. 
He  is  eternally  asking  questions  and  trying  to  in- 
crease his  stock  of  ideas.  Pictures  like  all  other 
objects  will  contribute  to  this  end.  From  pictures 
of  domestic  pets  so  easily  identified,  he  passes  with 
awe  and  curiosity  to  pictures  of  wild  animals  which 
have  never  come  into  his  ken :  elephants,  camels,  and 
lions;  and  from  these  again  to  mythical  beasts  like 
the  dragon.  From  pictures  of  houses  and  churches, 
such  as  he  sees  daily,  he  turns  with  inquiring  eyes  to 
views  of  splendid  public  buildings  such  as  he  has 
never  known.  From  children  of  his  own  class,  in 
dress  and  appearance  like  his  own,  he  advances  to  the 
child  life  of  other  periods  and  lands.  In  these  cases 
the  new  thing  is  enough  like  the  old  to  seem  halfway 
familiar,  and  still  so  unfamiliar  as  to  stimulate  new 
interest.  The  child  must  begin  with  what  he  can 
understand,  but  his  thirst  for  knowledge  gives  him  a 
zest  for  something  beyond,  not  so  far  beyond,  how- 
ever, that  it  is  in  outer  darkness.  The  universal  rule 
of  progress  is  by  one  step  at  a  time. 

It  is  singular  how  the  opposite  pleasures  of  recog- 
nition and  curiosity  alternate  and  balance  each  other 


PENELOPE    Bi  M  I  I  IIUV 


THE  CHILD  AND  THE  PICTURE  9 

in  a  child's  likes  and  dislikes.  All  boys  and  girls  have 
a  strong  conservative  element  in  their  make-up,  the 
girl  clinging  tenaciously  to  her  battered  old  dolls,  and 
the  boy  loyal  to  his  dismembered  dogs  and  horses. 
At  the  same  time  they  are  always  teasing  for  some 
new  toy  or  amusement.  So  with  pictures.  At  times 
they  seem  interested  only  in  something  familiar,  and 
again  they  utterly  refuse  to  look  at  the  "tiresome 
old"  picture  book  they  "know  by  heart."  I  have  a 
box  of  miscellaneous  prints  which  tests  the  caliber 
of  many  an  unsuspecting  little  visitor.  While  I  am 
busy  at  my  desk,  this  box  is  explored,  and  the  dis- 
coverer brings  me  the  special  treasures  selected.  I 
remember  one  little  girl  whose  amusement  consisted 
in  counting  out  the  pictures  she  herself  happened  to 
have.  Another  surprised  me  very  much  by  finding 
a  few  old  photographs  I  had  entirely  forgotten.  They 
were  Nativity  subjects  by  some  early  Italian  painters, 
quite  archaic  in  style  and  supposedly  unattractive  to 
a  child.  But  in  this  case  they  were  the  reminder  of  a 
happy  hour  in  the  schoolroom,  and  the  child  poured 
forth  to  me  the  story  of  the  manger  as  she  had  heard 
it  from  her  teacher.  All  the  charming  modern  chil- 
dren's pictures  counted  for  nothing  beside  these 
which  suggested  a  familiar  train  of  thought.  (  'hildren 
of  a  different  temperament  choose  the  striking  and 
unusual  things  to  have  them  explained.  'What  is 
the  giant  [St.  Christopher]  going  to  do  with  the  baby 
on  his  shoulder?"  "  Why  does  a  little  boy  [Prince 
Charles]  wear  a  lace  bonnet,  or  a  little  girl  [Penelope 
Boothby]  lace  mittens?" 


10      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

As  soon  as  the  child  is  capable  of  grasping  more 
than  one  object  at  a  time,  or,  in  other  words,  of 
relating  the  various  elements  of  a  composition,  he 
progresses  from  the  single  object,  or  unit,  to  the 
story  picture.  His  pleasure  is  now  of  a  higher  order 
than  mere  recognition  or  curiosity:  it  is  the  awak- 
ening of  the  imagination.  This  faculty  once  aroused 
needs  only  the  right  touch  to  transport  him  into  a 
paradise  of  joy.  The  good  story  picture  is  the  great 
desideratum.  This  may  be  illustrative  of  a  text  or 
anecdotic  in  itself.  In  either  case  his  lively  fancy 
finds  plenty  of  exercise  in  reading  the  story  into  the 
picture  or  the  picture  into  the  story.  The  story 
subjects  he  likes  best  at  first  are  those  drawn  from 
his  own  little  world,  but  he  soon  grows  to  new  inter- 
ests. As  kindergartners  so  well  understand,  children 
enjoy  seeing  things  done,  and  those  pictures  are  ever 
popular  which  portray  the  primitive  tasks  of  life 
like  spinning,  knitting,  sewing,  churning  butter  and 
feeding  hens,  sowing  the  seed  and  gathering  the  har- 
vest. Other  subjects  follow  in  due  order,  and  go  far 
towards  widening  the  horizon  of  the  child's  mind. 

There  are  certain  classes  of  subjects  to  which  the 
child  remains  long  indifferent.  He  has  no  use  for 
adult  portraits,  generally  speaking,  unless  they  are 
connected  with  some  story.  They  are  all  very  well 
to  vary  the  monotony  of  a  history  lesson,  but  taken 
by  themselves,  they  are  dull  and  uninteresting.  This 
is  natural  enough.  What  normal,  wide-awake  child 
enjoys  sitting  in  a  company  of  silent  grown-ups? 

Landscape  art  pure  and  simple  does  not  interest 


THE  CHILD  AND  THE  PICTURE  11 

the  average  child  to  any  extent.  The  love  of  nature 
in  early  years  is  due  in  a  measure  to  the  exhilarating 
effect  of  air  and  sunshine.  The  great  out-of-doors  is  a 
glorious  playground  in  which  the  child  delights  to 
sport  like  any  other  healthy  young  animal.  As  his 
mind  develops,  the  latent  esthetic  impulses  are 
awakened.  He  rejoices  in  the  "shout  of  color  to  glad 
color, "  and  his  heart  leaps  up  at  the  sight  of  the  rain- 
bow in  the  sky.  Though  beauty  must  make  its  first 
appeal  to  the  senses,  it  finds  its  way  at  last  to  the 
inner  spirit,  quickening  the  imagination,  and  creating 
a  joy  which  is  quite  of  its  own  kind.  We  can  never 
draw  a  hard-and-fast  line  between  the  sense  experi- 
ence and  the  underlying  aesthetic  joy,  but  we  come  to 
recognize  the  signs  of  the  deepening  experience  in 
our  children's  maturer  years.  In  the  mean  time  we 
can  hardly  expect  a  pictured  out-of-doors  to  produce 
the  same  effect  that  the  world  of  nature  does  on  the 
child.  It  lacks  the  stimulating  influence  of  sun  and 
air.  Nature  pictures  like  nature  poetry  must  bide 
their  time.  We  need  not  be  discouraged  if  our  chil- 
dren fail  to  respond  to  Corot  and  Inness,  but  we  can 
please  them  best  by  giving  them  photographs  of  the 
woods  and  meadows  associated  with  their  own  sum- 
mer outings.  They  usually  respond  more  quickly  to 
actual  views  of  natural  scenery  than  to  ideal  land- 
scape. Subjects  representing  the  unusual  and  striking 
in  nature,  like  Niagara  Falls  and  the  majestic  peaks 
of  the  Alps,  also  arouse  their  interest.  Another  open- 
ing wedge  to  the  appreciation  of  pure  landscape  art  is 
the  animal  picture  with  landscape  setting,  like  some 


12      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

of  the  Dutch  or  French  cattle  subjects.  It  has  been  a 
capital  idea  in  some  schoolroom  decorations  to 
arrange  a  series  of  such  subjects  to  follow  the  se- 
quence of  the  seasons.  This  correlation  of  landscape 
art  and  nature  study  makes  a  pleasant  introduction 
to  an  otherwise  uninteresting  subject.  In  schools 
where  pupils  are  taught  to  recognize  the  forms  of 
trees,  I  am  told  that  landscape  pictures  take  on  a 
peculiar  interest  if  they  contain  well-defined  tree 
examples. 

Besides  the  subjects  which  the  children  do  not 
themselves  like  are  those  which  we  do  not  want  them 
to  like.  The  vulgar  and  the  sensuous  should,  of 
course,  be  eliminated  from  their  repertory.  The 
imagination  should  be  fed  only  on  the  pure  and  clean. 
The  beauty  of  the  human  figure  should  be  taught 
chiefly  through  the  ideal  forms  of  great  sculpture. 
The  child  familiarized  with  the  austere  and  chaste 
nobility  of  the  Greek  gods  will  be  embarrassed  by  no 
impure  suggestions.  The  repugnant  and  the  horrible 
should  likewise  be  kept  from  children.  We  pride 
ourselves  that  we  have  traveled  a  long  way  from  the 
mediaeval  period  when  churches  were  decorated  with 
the  martyrdom  of  saints  and  the  last  sufferings  of  the 
Saviour.  In  their  place  we  have  moving-picture 
shows  which  display  all  the  details  of  disaster  and 
crime  as  if  actually  taking  place  before  our  eyes. 
Philanthropists  are  trying  to  save  the  children  from 
patronizing  these  places,  and  we  must  avoid  a  similar 
element  in  illustrated  newspapers  and  magazines  and 
in  prints.    If  a  child  is  attracted  by  such  things,  he 


THE  CHILD  AND  THE  PICTURE  13 

shows  a  morbid  taste  which  should  be  repressed.    If 
he  shrinks  from  them,  he  should  be  carefully  guarded 
from  anything  which  will  give  a  shock  to  his  sensitive 
nature.    I  recently  heard  of  a  little  boy  of  five  who 
was  convulsed  with  grief  over  the  fate  of  a  picture 
kitten  —  left  alone  on  a  rock  in  a  stormy  sea.    A 
friend  of  mine  once  confessed  to  me  that  she  had 
never  quite   recovered   from   the   horror  of  a  vivid 
picture  of  the  Deluge  shown  to  her  in  her  childhood. 
The  grotesque  often  has  a  certain  comic  element  in 
it  which  has  its  value  in  amusing  the  child,  but  the 
line  is  sometimes  hard  to  draw  between  the  grotesque 
and  the  gruesome.    I  have  seen  illustrated  books  of 
fairy  tales  in  which  the  ogre  who  looks  so  funny  to 
the  grown-ups  is  a  very  alarming  creature  to   the 
child.    The  children  who  are  terrified  by  the  circus 
clown  —  and   there   are    not   a  few    such  —  are   of 
the  kind  whose  pictures  must  be  carefully  chosen. 
Pictures  which  are  outside  a  child's  range  of  inter- 
est should  certainly  not  be  forced  upon  him.   If  he  is 
overdosed  by  zealous  parents  and  teachers  with  sub- 
jects beyond  his  comprehension,  or  not  appealing  to 
his  preferences,  he  may  revolt  altogether.   Whatever 
a  child  likes  to  hear  about,  or  read  about,  or  look  at 
in  real  life,  that  he  enjoys  in  a  picture.    We  must 
look,  then,  for  the  material  which  connects  naturally 
With  the  average  child's  experience,  and  we  should 
provide  it   in  sufficient  variety.    Some  of  us  recall 
with  amusement  a  period  in  the  nineties  when  the 
schools    "discovered"    the    Madonna,    so   to   speak, 
and  the  children  were  treated  to  the  subject  till  they 


14      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

were  tired.  A  little  girl  I  knew,  coming  home  to 
lunch  one  day  to  find  a  dish  she  especially  disliked, 
exclaimed  wearily,  "If  there's  anything  I  hate  it's 
turkey  soup  and  Madonnas."  Boys  and  girls  have 
different  tastes,  corresponding  to  their  different 
interests.  On  the  whole,  however,  we  may  be  fairly 
sure  that  all  children  will  like  pictures  of  animals, 
pictures  of  child  life,  and  pictures  with  story  interest. 
Under  these  headings  I  have  collected  a  quantity  of 
available  subjects  for  home  and  school  use. 

In  our  collecting  we  must  never  forget  to  choose 
good  art.  Though  the  child  himself  finds  his  chief 
delight  in  what  the  picture  is  about,  we  must  take 
pains  to  note  how  it  is  made.  We  remember  that  it 
is  not  for  to-day  merely,  but  for  the  future,  that  we 
are  building.  Let  the  first  pictures  be  such  as  will 
last  a  lifetime,  so  that  the  man  may  never  be  ashamed 
of  the  treasures  of  his  boyhood,  enjoying  them  in 
increasing  measure  as  he  develops  the  higher  appreci- 
ation of  art. 

The  child's  enjoyment  of  pictures  is  unhampered 
by  any  prejudices  or  preconceived  ideas.  There  is  a 
certain  advantage  in  having  nothing  to  unlearn. 
The  motives  which  actuate  the  adult  do  not  affect 
him  at  all.  It  means  nothing  to  him  that  a  picture 
is  by  Raphael  or  Titian,  as  he  has  never  heard  of 
these  worthies.  When  his  love  of  beauty  is  aroused, 
it  is  an  unaffected  joy.  We  must  never  force  our  own 
tastes  and  opinions  upon  him.  It  is  better  to  admire 
the  wrong  thing  sincerely  than  the  right  thing  insin- 
cerely. As  the  child  learns  more  about  the  principles 


THE  CHILD  AND  THE  PICTURE  15 

of  art  and  craftsmanship,  the  critical  faculties  enter 
into  his  experience  and  enrich  his  pleasure.  At  a 
certain  stage  of  his  development  we  can  help  the 
child  to  understand  and  appreciate  how  the  picture 
is  made,  as  I  try  to  explain  in  the  next  chapter.  The 
whole  tale  of  our  art  enjoyment  is  a  threefold  one: 
the  perfect  picture  satisfies  the  senses,  stimulates 
the  critical  faculties,  and  inspires  the  spiritual  imag- 
ination. The  body,  mind,  and  spirit  are  all  involved. 
The  keener  the  senses,  the  more  susceptible  the  imag- 
ination and  the  more  extensive  the  technical  knowl- 
edge, the  greater  will  be  the  capacity  to  enjoy.  The 
most  encouraging  thing  about  training  the  aesthetic 
sense  is  that  if  started  right,  and  properly  nourished, 
it  will  come  to  sure  fruition. 


Ill 


HOW   THE   PICTURE   IS   MADE 

If  you  are  giving  a  child  a  cake,  it  adds  nothing  to 
his  enjoyment  to  tell  him  that  it  came  from  an  expen- 
sive caterer,  that  it  contains  certain  ingredients  and 
was  made  by  certain  rules,  or  that  it  will  contribute 
to  his  nourishment.  If  it  is  good,  he  eats  it  and  wants 
more,  and  your  object  is  accomplished.  The  careful 
mother,  however,  must  be  sure  that  the  cake  comes 
from  a  trustworthy  source,  and  is  composed  of  whole- 
some materials,  and  if  she  is  of  the  domestic  sort,  she 
knows  pretty  nearly  how  it  was  made.  So  in  the 
matter  of  pictures:  one  need  not  worry  the  child  by 
didactic  explanations  in  regard  to  the  artist  or  his 
art,  converting  his  pleasure  into  a  "lesson."  Yet  all 
that  teacher  and  mother  can  learn  about  the  making 
of  the  picture  will  enable  them  the  better  to  choose 
those  pictures  which  will  foster  the  child's  love  of  art. 
The  critical  knowledge,  which  increases  so  much  our 
own  aesthetic  enjoyment,  may  little  by  little  be 
imparted  to  the  child  as  occasion  offers.  The  more 
unconsciously  he  absorbs  such  instruction,  the  better. 
The  art  of  teaching  at  its  highest  point  is  an  art  of 
concealing  art. 

How,  then,  is  a  work  of  art  produced?  By  a  mere 
haphazard  process?  Assuredly  not.  In  the  first  place, 
the  mere  mechanical  achievement  of  reproducing  a 


HOW  THE   riCTURE   IS  MADE  17 

drawing  or  painting  in  the  form  of  a  print  is  a  marvel. 
We  accept  this  as  a  matter  of  course,  as  we  do  alS 
other  manufactured  articles.  In  this  age  of  industrial 
miracles,  we  have  no  time  to  praise  one  above  another. 
Behind  the  machinery  is  the  artist  with  his  simple  tools, 
pencil,  brush,  and  color.  Here  is  the  wizard  perform- 
ance by  which  a  few  dexterous  strokes  will  transform 
a  blank  sheet  into  a  living  creature,  or  fill  vacancy 
with  a  fairy  world.  Outwardly  the  success  of  his 
work  depends  upon  his  craftsmanship.  He  must  be 
master  of  a  thousand  technical  details.  He  must 
know  anatomy,  perspective,  the  values  of  light  and 
shade,  modeling,  drawing,  the  mixing  of  colors,  and 
whatever  else  has  to  do  with  the  manipulation  of  the 
raw  materials.  Of  all  that  makes  up  the  so-called 
technique  of  art  the  ordinary  layman  has  little  ink- 
ling. Only  one  who  has  tried  his  own  hand  at  it  has 
any  notion  that  what  looks  so  easy  is  really  so  hard. 
And  just  as  a  few  elementary  lessons  in  the  use  of  any 
musical  instrument  give  the  amateur  some  faint  idea 
of  the  skill  represented  in  a  great  orchestra,  so  the 
drawing  lessons  of  the  public  school  train  the  eye  to 
discriminate  between  fine  and  faulty  draughtsman- 
ship. It  is  a  fashion  in  certain  social  circles  to  fre- 
quent the  haunts  of  artists  and  pick  up  some  of  the 
studio  vernacular,  but  it  is  a  question  how  far  this 
goes  towards  raising  art  standards.  What  will  really 
help  us  to  a  more  intelligent  appreciation  of  a  picture 
is  to  understand  its  structure.  For  every  noble  work 
of  art  is  based  on  principles  as  well  defined  as  the 
laws  of  nature, —  principles  which  are  common  to  all 


18      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

the  branches  of  the  fine  arts :  painting,  sculpture,  po- 
etry, music,  and  architecture.  It  is  true  that  in  the 
highest  creative  work,  the  artist  acts  as  by  inspira- 
tion, without  conscious  analysis.  But  when  his  work  is 
done,  it  is  tested  by  its  conformity  to  certain  laws  of 
composition.  The  symmetry  of  a  tree  seems  like  a 
happy  accident,  but  as  a  matter  of  fact  there  are 
phyllotactic  laws  governing  the  position  of  every 
branch.  The  stars  seem  scattered  over  the  sky  as 
carelessly  as  the  leaves  on  a  tree,  yet  each  one  is  a 
world  revolving  in  a  fixed  orbit  by  immutable  laws. 
Nothing  "happens"  either  in  nature  or  art. 

"Composition  means  literally  and  simply  putting 
things  together  so  as  to  make  one  thing  out  of  them, 
the  nature  and  goodness  of  which  they  all  have  a 
share  in  producing."  This  is  Ruskin's  definition  in 
the  Elements  of  Drawing,  and  I  have  never  found  a 
better  one.  It  means  that  in  a  true  art  composition 
there  is  a  reason  for  everything.  Not  a  single  line  or 
spot  of  color  is  superfluous  or  meaningless.  Every 
touch  contributes  to  the  whole  effect.  The  architect, 
sculptor,  painter,  musician,  and  poet  shape  their 
materials  into  a  complete  and  perfect  oneness  —  a 
unity.  The  methods  of  reducing  variety  to  unity 
constitute  the  laws  of  composition. 

To  begin  with,  a  picture  contains  some  one  feature 
to  which  all  others  are  subordinate.  This  is  Princi- 
pality, and  by  this  law  every  means  should  be  taken 
to  fix  attention  upon  the  supreme  point  of  interest. 
In  some  cases  the  scheme  of  color  brings  the  impor- 
tant element  into  prominence.   Again  the  method  of 


HOW  THE   PICTURE  IS  MADE  19 

lighting  is  the  artist's  device  for  emphasizing  his 
Leading  idea.  In  a  portrait  by  Rembrandt  the  won- 
derful high  light  in  the  face  illumines  the  very  soul  of 
the  sitter,  and  is  intensified  by  the  heavy  shadows 
from  which  it  emerges.  In  most  pictures  the  principal 
features  are  shown  by  the  use  of  a  diagram  or  frame- 
work, so  to  speak,  on  which  the  linear  composition  is 
built.  One  can  trace  the  structural  form  by  connect- 
ing the  strongest  lines  of  the  picture.  Notice,  for 
instance,  how  carefully  the  four  figures  are  placed  in 
Landseer's  Shooing.  ()n  the  left  side  the  three  heads 
—  the  horse's,  the  donkey's,  and  the  dog's  —  are  all 
in  line.  On  the  right,  the  blacksmith  stands  so  that 
his  entire  figure  will  come  compactly  within  the 
diagram. 

One  of  the  commonest  compositional  forms  is  the 
pyramid,  which  was  a  favorite  device  with  the  Italian 
masters,  especially  Raphael.  Some  of  his  Madonna 
pictures  and  Holy  Families,  referred  to  in  my  lists, 
are  in  this  style.  Murillo  used  this  form  a  great 
deal  in  arranging  his  groups,  the  Children  of  the  Shell 
being  an  excellent  example.  The  lamb  is  lying  in  such 
a  position  that  a  line  drawn  from  the  Christ-child's 
head  to  the  left  corner  forms  one  oblique  side  of  the 
pyramid,  and  the  diagram  is  completed  on  the  other 
side  by  a  line  running  along  the  back  of  the  kneeling 
St.  John.  The  two  Fruit  Venders  also  lean  towards 
each  other  in  attitudes  which  bring  the  figures  within 
a  pyramidal  outline.  Sir  Joshua  Reynolds,  who,  like 
Murillo,  derived  much  from  the  Italians,  arranged 
many  portraits  in  pyramidal  style.   Miss  Bowles  is  an 


20      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

instance,  the  spreading  dress  on  one  side  and  the 
spaniel  on  the  other  helping  to  produce  the  desired 
effect.  Many  of  Millet's  peasant  figures,  like  the 
Milkmaid,  the  Man  with  the  Hoe,  and  the  Woman 
Churning,  are  posed  in  a  way  to  suggest  the  pyrami- 
dal outline.  In  all  these  cases,  of  course,  the  apex 
of  the  pyramid  is  the  focal  point  of  the  picture,  the 
point  the  painter  wishes  you  to  see. 

Some  beautiful  elliptical  designs  are  illustrated  in 
compositions  by  Botticelli,  the  Lippi,  and  Michel- 
angelo. The  Delphic  Sibyl  of  the  Sistine  Chapel 
ceiling  is  drawn  in  this  form.  Trace  the  curve  de- 
scribed by  her  scroll  and  continue  it  along  the  edge  of 
her  robe  to  form  an  arched  line  on  the  left  side.  This 
meets  the  complementary  curve  of  her  back  and 
makes  a  complete  ellipse.  Even  more  wonderful, 
perhaps,  is  the  Italian  tondo,  or  circular  design,  so 
perfectly  consummated  in  Botticelli's  Incoronata 
and  Raphael's  Chair  Madonna.  Here  the  lines  flow 
around  in  concentric  circles,  producing  a  charming 
effect  which  has  been  likened  to  the  clustering  petals 
of  a  rose.  Titian  had  a  way  of  bisecting  his  space 
with  a  diagonal  line,  as  in  the  Pesaro  Madonna, 
where  the  draperies  fall  in  a  sort  of  cascade  across 
the  picture.  The  portrait  of  Lavinia  is  designed  in 
the  same  way,  the  foundation  line  being  the  long 
curve  running  diagonally  across  the  canvas  from 
upper  left  to  lower  right  corner.  Van  Dyck  and 
Rubens,  who  were  Titian  adorers,  imitated  this 
method  with  great  success.  Van  Dyck's  St.  Martin 
dividing  his  Cloak  with  a  Beggar  is  constructed  in 


II<m    THE  PICTURE  IS  MADE  21 

this  way,  and  Rubens's  Descent  from  the  Cross  is  a 
masterly  example  of  the  same  idea.  These  academic 
methods  of  older  artists  have  become  a  standard  for 
Later  art,  though  with  less  geometrical  exactness. 
The  aim  in  every  ease  is  to  bring  one  object  before 
the  eye  a>  the  Leading  idea  of  the  picture.  In  describ- 
ing a  picture  to  one  who  has  not  seen  it,  or  in  showing 
a  picture  to  a  child,  we  are  unconsciously  guided  by 
this  law  of  Principality  in  picking  out  the  most 
important  feature  of  the  picture  at  the  first  glance. 

Next  to  Principality  let  us  note  the  law  of  composi- 
tion most  pleasing  to  the  child:  Repetition.  No  one 
who  reads  or  tells  stories  to  children  can  fail  to 
observe  the  gurgle  of  delight  which  greets  the  recur- 
rence of  some  repeated  line.  How  eagerly  the  little 
listener  waits  for  the  catch  phrase.  The  oldest  story- 
tellers made  abundant  use  of  this  principle,  as  we  see 
in  the  Old  Testament  literature,  and  it  is  the  most 
captivating  quality  in  popular  verse  and  song. 

Repetition  is  the  simplest  element  in  decorative 
design.  One'of  the  child's  never-failing  amusements 
is  to  pick  out  the  repetitive  feature  in  the  rugs  and 
wall  hangings.  The  first  lessons  in  designing  are 
based  on  this  principle,  and  teachers  often  use  the 
1  Palace  in  Venice  to  illustrate  the  beauty  of 

this  device.  Repetition  occurs  in  a  picture  in  many 
forms:  in  color,  mass,  or  line.  "We  see  it  illustrated  in 
a  very  .simple  way  in  Landseer's  composition  of  the 
Newfoundland  Dog  where  the  cloud  forms  repeat 
the  ripples  in  the  water.  A  clever  example  of  Repe- 
tition is  found  in  the  favorite  school  picture  of  Prince 


22      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Baltasar  on  his  pony  (Velasquez).  How  charmingly 
the  boy's  scarf  and  sash,  and  even  his  baton,  empha- 
size the  diagonal  line  described  by  the  pony's  spirited 
attitude.  Without  any  suspicion  of  the  reason,  the 
child  catches  the  buoyant  sense  of  the  forward  motion 
expressed  in  the  whole  picture.  Precisely  the  same 
idea  is  carried  out  in  Guido  Reni's  Aurora  in  a  suc- 
cession of  parallel  curves  across  the  composition. 
Long  before  either  of  these  pictures  was  painted, 
however,  Raphael  had  set  the  example  in  St.  Michael 
and  the  Dragon.  In  this  composition  the  uplifted 
spear  of  the  warrior  angel  makes  a  line  parallel  with 
that  running  the  length  of  his  right  side  and  along 
the  right  leg,  while  his  sword  swings  back  in  a  line 
parallel  with  the  left  leg.  These  devices  add  to  the 
spirited  effect  of  the  attitude. 

Repetition  is  offset,  compositionally  speaking,  by 
Contrast.  This  principle,  as  the  word  implies,  means 
a  direct  opposition  of  elements,  light  to  dark,  the 
perpendicular  to  the  horizontal,  the  convex  to  the 
concave,  etc.  The  main  diagonal  line  of  St.  Michael 
and  the  Dragon  (running  from  upper  left  to  lower 
right)  is  offset  by  the  diagonals  running  directly 
across  them.  These  contrasting  lines  may  be  traced, 
one  across  the  left  arm  and  left  wing  of  the  angel,  and 
another  across  the  outstretched  arms  of  the  prostrate 
victim.  In  exactly  the  same  way  the  curve  of  Lavin- 
ia's  uplifted  arm  cuts  across  the  curve  of  her  swaying 
body  and  Diana's  right  arm  cuts  the  long  line  extend- 
ing from  her  left  hand  to  her  right  foot.  The  drawing 
of  Millet's  Sower  is  on  a  similar  plan.  The  predomi- 


Y;-        v        ;  " 


S  I.     MI(  MAI   I      -I.  WIN''.    THI      I'      ' 

n  ■ . .  Pc 


HOW  THE   PICTURE   IS   MADE  28 

nant  curve  of  the  Aurora  is  similarly  counterbalanced 
by  a  series  of  shorter  lines  curving  in  the  opposite 
direction. 

Contrast  comes  into  effective  play  where  a  good 
many  figures  are  brought  together:  youth  offset  by 
age,  gayety  by  seriousness,  motion  by  repose.  The 
angelic  beauty  of  Raphael's  St.  Michael  is  contrasted 
with  the  ugliness  of  Satan;  the  rugged  strength  of  St. 
Christopher  by  the  infantine  face  of  the  Christ-child; 
the  aristocratic  sleekness  of  the  horse  in  Landseer's 
Shoeing  by  the  shaggy  coat  of  the  plebeian  donkey. 
Such  devices,  however,  must  not  be  too  pronounced. 
They  are  held  in  check  by  the  laws  of  Consistency 
and  Continuity.  In  other  words,  the  elements  of  a 
good  composition  are  homogeneous,  and  hold  to- 
gether well,  so  to  speak.  All  the  color  should  conform 
harmoniously  with  the  one  scheme  and  the  flow  of 
line  should  be  complete  and  satisfying. 

It  is  obvious  that  the  art  of  a  picture  may  be  con- 
sidered quite  apart  from  the  subject,  and  that  we 
may  admire  the  composition  as  such,  either  in  color 
or  line,  whether  the  subject  is  "pretty"  or  not,  and 
whether  we  like  or  dislike  the  theme.  The  word  "art" 
is  not  a  synonym  for  prettiness  or  sentimentality, 
though  the  popular  taste  so  often  calls  for  these 
qualities.  Some  of  the  noblest  pictures  contain 
figures  which  are  far  from  "pretty"  in  the  general 
acceptance  of  that  term,  like  Millet's  Milkmaid,  or 
Water  (  arrier,  or  the  Man  with  the  Iloe.  Van  Kyck's 
famous  portrait  of  the  Man  with  the  Pink  represents 
an  almosl  ludicrously  ugly  subject  treated  with  con- 


24      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

summate  artistry.  Rembrandt's  Anatomy  Lesson, 
which  repels  the  average  person,  is  one  of  the  world's 
masterpieces.  It  is  often  with  pictures,  as  with 
novels,  whose  cleverness  we  are  bound  to  admit,  but 
whose  themes  are  unpleasant  or  objectionable.  A 
Drunken  Bacchanal  by  Rubens  may  delight  us  for  its 
color,  or  a  Tavern  Brawl  by  Teniers  or  Brouwer 
attract  us  for  its  life  and  action,  however  disgusting 
we  may  think  the  subject.  The  distinction  should  be 
kept  clearly  in  mind  between  subject  and  art.  Never- 
theless, the  perfect  picture  is  that  which  unites  noble 
ideals  with  strong  craftsmanship.  Such  should  be  the 
art  we  set  before  our  children. 

No  hard-and-fast  rules  can  be  laid  down  about  the 
age  at  which  the  child  may  be  taught  the  artistic 
qualities  of  a  picture,  so  much  depends  upon  the 
natural  aptitude.  Generally  speaking,  children  are 
curious  to  hear  how  things  are  made.  They  like  to 
see  the  wheels  go  round,  and  they  are  pleased  to  learn 
that  even  pictures  have  secrets.  Repetition  and 
Contrast  are  the  most  readily  noticed  of  all  qualities. 
Often  without  any  hint  from  an  elder  the  child  points 
out  in  a  picture  one,  two,  three  spots  of  red,  or  a 
curved  line  here  and  another  like  it  there.  The 
pupil  who  is  fond  of  drawing  may  very  likely  ask 
questions  which  will  open  the  way  naturally  to  simple 
explanations.  He  is  quick  to  see  how  his  lessons  in 
design  may  be  applied  to  the  structure  of  a  picture. 

I  knew  a  boy  of  fourteen  who  became  much  inter- 
ested in  Raphael's  compositions  as  a  help  in  his 
camera  work.    He  had  attended  an  art  lecture  only 


HOW  THE   PICTURE   IS   MADE  25 

for  the  fun  of  hearing  his  sister  speak  in  public,  but 
when  the  diagrams  of  the  various  Madonna  groups 
were  explained,  he  observed  at  once  their  application 
to  the  arrangement  of  figures  in  photographs.    An 

intelligent  lad  who  has  a  definite  motive  like  this  can 
learn  a  great  deal  by  placing  tracing-paper  over  the 
photograph  of  a  good  composition,  and  outlining  in 
pencil  tin-  strongest  lines.  I  am  confident  that  ingen- 
ious mothers  and  teachers  can  make  a  great  deal  of 
picture-posing  or  tableaux  to  show  the  children  how 
much  better  the  effect  is  when  the  figures  are  properly 
related.  The  boy  taking  the  exact  pose  of  Millet's 
Sower,  and  the  girl  posing  a  la  Lavinia  must  get  some 
notion  of  the  rhythmic  flow  of  line  in  these  master- 
pieces. Another  chapter  is  given  to  the  full  explana- 
tion of  this  subject. 

When  the  botanist  analyzes  a  flower  he  must  needs 
leave  it  in  fragments,  but  the  process  once  over,  he 
ever  after  remembers  the  blossom  in  its  entirety. 
The  critical  analysis  of  a  picture  would  be  a  sad 
process  if  it  were  the  end  and  object  of  our  interest. 
Whatever  we  see  in  the  beauty  of  its  make-up  should 
help  us  to  enjoy  it  better  as  a  whole.  For  the  true 
work  of  art,  like  one  of  God's  flowers,  is  made  first 
and  foremost  to  delight  the  heart  of  man. 

Reference  Books:  — 

M.   S.    EmeBT.    Hmr  to  Enjoy  Pictures. 

John  C.   Van    Dyke.    Art  for  Art's  Sake. 

Charles  II.  Caffin.   Guide  to  the  Study  of  Pictures. 

John   Riskin.    Element*  qf  Drawing. 

Arthur  W.  Dow.    Composition. 

George  Lansing  Raymond.   The  Genesis  of  Art  Form. 


IV 

HOW  TO  MAKE   PICTURES   TELL   STORIES 

A  child's  insatiable  thirst  for  stories  is  one  of  the 
demands  which  every  mother  has  to  meet  as  best  she 
may.  The  story-teller's  gift  is  a  special  endowment 
not  vouchsafed  to  many.  The  most  of  us  have  to 
cultivate  it  assiduously  for  the  benefit  of  the  little 
ones.  We  rack  our  brains  for  new  ideas,  or  look 
through  many  books  in  search  of  interesting  subjects. 
Even  when  we  have  a  good  story  to  tell,  we  begin 
haltingly,  failing  in  the  power  to  express  ourselves 
fluently,  and  unable  to  produce  a  vivid  impression. 
Now  here  is  where  a  certain  class  of  pictures  can  help 
us  out  amazingly.  The  picture  which  illustrates  a 
dramatic  situation,  in  other  words,  the  anecdotic  or 
story  picture,  has  undreamed-of  possibilities  in  the 
way  of  story  entertainment.  It  furnishes  us  a  subject 
and  puts  the  story  into  our  very  mouths,  so  to  speak. 
All  children  take  naturally  to  pictures,  and  we  secure 
their  attention  at  once  when  we  produce  a  print  or 
open  an  illustrated  book.  Usually,  however,  their 
interest  quickly  flags,  unless  guided  by  an  older  com- 
panion. The  young  mind,  untrained  to  concentra- 
tion, flits  from  subject  to  subject,  as  a  butterfly  from 
one  blossom  to  another.  But  let  the  mother  begin  to 
talk  about  the  picture,  and  the  child  fixes  eager  eyes 
upon  it,  and  follows  every  word  with  breathless  atten- 


HOW  TO  MAKE   PICTURES  TELL  STORIES        27 

tion.  And  "talking  about"  a  picture  is  simply  letting 
the  picture  talk,  provided,  of  course,  that  it  is  the 
right  sort  of  picture.  The  artist  does  all  the  work: 
one  has  only  to  follow  his  thought.  Xo  descriptive 
phrases  are  needed:  the  objects  describe  themselves. 
The  process  of  unfolding  the  story  becomes  more  and 
more  fascinating  as  we  go  on,  and  the  teacher  usually 
learns  more  than  the  pupil. 

Suppose  the  child  comes  with  the  familiar  request 
at  a  moment  when  the  mother  is  too  weary  for  any 
new  invention.  Her  eyes  fall  upon  Guido  Reni's 
Aurora  hanging  over  the  mantelpiece.  It  is  one  of  the 
colored  reproductions  so  many  people  bring  home 
from  abroad  and  which  our  large  art  stores  now  sell. 
Here  is  a  story  ready  to  hand.  She  begins  in  this  wise : 
Every  morning  the  sun  god  Apollo  starts  forth  on  a 
journey  across  the  sky.  Aurora  gives  him  the  signal 
and  leads  the  way,  floating  in  the  air  and  scattering 
roses  on  the  sleeping  world  which  lies  far  below. 
Apollo  sits  in  his  chariot  and  guides  his  horses  four 
abreast,  as  they  dash  along  so  swiftly  that  the  wind 
fills  out  his  fluttering  garments  and  blows  back  his 
golden  curls.  The  little  winged  love  god  Cupid  flies 
through  the  air  just  over  the  team  carrying  his  flam- 
ing torch,  for  wherever  the  sun  shines,  love  and  joy 
are  sure  to  follow.  Apollo  is  accompanied  by  all  the 
hours  which  fill  the  day,  each  one  beautiful,  no  two 
alike,  and  every  one  bringing  the  right  time  for 
some  special  duty  or  pleasure.  First  come  the  maid- 
ens of  the  morning  in  the  delicate  colors  of  early  day- 
light, their  faces  full  of  anticipation.   Then  follow  the 


28      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

glowing  noontide  hours  in  warm  colors,  when  life  and 
strength  are  in  their  fullness,  and  then  the  waning 
hours  of  afternoon  in  pale  tints  and  with  pensive 
faces.  All  are  linked  hand  in  hand,  keeping  perfect 
step,  none  missing  and  none  delaying.  So  the  proces- 
sion moves  along,  and  presently  the  world  awakens 
to  welcome  the  Dawn,  and  to  follow  the  course  of  the 
chariot  across  the  sky.  If  you  look  out  of  the  window 
and  gaze  up  towards  the  sun,  you  may  see  how  far 
Apollo  has  gone  on  his  way,  and  you  know  that  the 
horses  are  still  speeding  onward  that  every  hour  may 
have  its  turn  in  blessing  the  world. 

A  very  simple  world-old  tale  is  this,  which  you 
might  never  have  thought  of  putting  in  this  way  if 
the  Italian  painter  had  not  composed  it  for  you. 

In  homes  which  are  decorated  with  good  works  of 
art  the  natural  beginning  is  with  the  subjects  on  the 
walls.  When  the  children  come  to  love  the  pictures 
with  which  they  are  surrounded,  they  will  hold  fast 
to  these  ideals  all  their  lives.  The  "silent  influence" 
of  good  art  is  all  very  well  in  its  way,  but  it  will  be 
greatly  strengthened  by  a  little  judicious  story- 
telling. I  was  rather  shocked  one  day  when  a  charm- 
ing young  girl,  halfway  through  college,  professed 
that  she  knew  nothing  at  all  about  any  of  the  beauti- 
ful pictures  with  which  her  home  was  filled.  I  have  a 
small  boy  friend,  only  five  years  old,  who  could  quite 
put  her  to  shame  with  all  he  knows  about  the  pictures 
in  his  home.  He  is  on  familiar  terms  with  Titian's 
Lavinia  and  Sir  Joshua  Reynolds's  Miss  Bowles,  and 
likes  to  tell  of  the  little  English  maid's  frolics  with  her 


H()\V  TO  MAKE  PICTURES  TELL  STORIES      29 

spaniel  in  the  great  park  where  we  see  them.  He 
loves  the  Si>tine  Madonna  and  explains  how  the 
beautiful  mother,  with  her  baby  boy  upon  her  arm, 
hearing  from  afar  the  call  of  the  Buffering  and  sorrow- 
ful, came  out  of  the  dim  angel  hosts  of  heaven  and 
hastened  forth  with  shining  eyes  to  bring  her  child 
to  help  people  in  their  trouble.  I  shall  be  much  dis- 
appointed if  this  promising  child  does  not  grow  up 
to  discriminate  between  Raphael  and  Bouguereau, 
between  Reynolds  and  Greuze,  between  the  strong 
and  sincere  in  art,  and  the  weak  and  sentimental. 

If  we  have  good  success  with  our  picture  story- 
telling, it  will  gradually  take  a  place  of  its  own  in  the 
home  life.  The  "Children's  Picture  Hour"  should  be 
a  regular  institution  corresponding  to  the  "Story 
Hour,"  and  perhaps  alternating  with  it  at  certain 
intervals.  The  mother  should  keep  a  good  supply  of 
pictures  on  hand,  with  some  always  in  reserve  for  a 
surprise.  They  are  easier  to  get  than  books,  and 
cheaper,  too.  The  art  dealers  have  excellent  lists  of 
penny,  nickel,  and  dime  prints,  and  if  we  wish  some- 
thing more  expensive,  we  may  get  fine  photographs 
from  original  paintings  both  at  home  and  abroad. 
Files  of  old  magazines  are  a  rich  storehouse  of  treas- 
ures. From  their  pages  we  may  cull  pictures  by 
famous  illustrators,  like  Howard  Pyle,  E.  A.  Abbey, 
Maxfield  Parrish,  Boutet  de  Monvel,  Jessie  Wilcox 
Smith,  and  many  others. 

The  typical  child's  collection  contains  plenty  of 
animal  pictures,  and  these  are  a  prolific  source  of 
story  material.    Landseer's  Shoeing  is  just  what  we 


30      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

want  to  explain  the  blacksmith's  occupation  and  tell 
a  story  about  the  bay  mare  standing  at  the  forge. 
Her  name  is  Betty,  a  fine,  high-bred  creature  with 
straight  legs,  arching  neck,  and  a  pure  white  star  on 
her  forehead.  Her  master,  Mr.  Bell,  takes  pride  in 
having  her  rubbed  down  till  her  glossy  sides  fairly 
shine.  She  is  so  intelligent  that  when  the  time  comes 
for  her  regular  visit  to  the  blacksmith  she  walks  off 
of  her  own  accord  to  the  familiar  spot.  The  blood- 
hound Laura,  her  boon  companion,  has  followed  her 
here.  No  halter  is  necessary  to  keep  her  standing,  but 
she  takes  her  place  quietly  as  if  perfectly  at  home.  A 
shaggy  little  donkey  is  also  there  waiting  his  turn 
very  meekly.  When  Betty  appeared  at  the  shop, 
the  blacksmith  first  removed  her  old  shoes  and  pared 
and  filed  her  feet.  Then  he  chose  new  shoes  as  near 
the  right  size  as  possible  and  shaped  them  one  by 
one.  Holding  the  shoe  in  his  long  tongs,  he  thrusts  it 
into  the  fire  while  he  fans  the  flame  with  the  bellows. 
Thence  it  is  transferred,  a  glowing  red  crescent,  to 
the  pointed  anvil  near  the  window.  Now  the  work- 
man swings  his  hammer  upon  it  with  ringing  strokes 
and  the  sparks  fly  up  in  a  shower.  The  soft  metal  is 
shaped  at  will,  the  ends  are  bent  to  form  the  heels, 
the  holes  pierced  for  the  nails,  and  the  shoe  is  ready 
to  try  on.  If  it  is  a  satisfactory  fit,  it  is  thrust  hissing 
into  a  barrel  of  cold  water,  and  when  it  is  hardened, 
it  is  nailed  to  the  hoof.  Betty  is  now  having  the  left 
hind  shoe  fastened  in  place.  The  blacksmith  holds 
her  foot  between  his  legs  against  his  leather  apron. 
Laura  thrusts  her  nose  out  inquisitively  as  if  super- 


SHOEING 
National  &i. 


HOW  TO  MAKE  PICTURES  TELL  STORIES      31 

intending  the  job.  This  outline  of  a  story  can  be 
filled  in  with  many  details  in  regard  to  each  of  the 
four  figures  in  the  picture.  The  blacksmith's  tools 
and  even  the  birdcage  may  come  in  for  a  share  of 
attention. 

The  picture  of  Prince  Baltasar  Carlos  on  his  pony 
(by  Velasquez)  carries  a  story  winch  any  one  may 
read  on  the  surface,  but  which  may  be  greatly  en- 
riched by  some  historical  information  about  the 
original  of  the  young  cavalier.  The  whole  story  runs 
something  like  this:  In  the  country  of  Spain,  nearly 
three  hundred  years  ago,  lived  a  prince  name  Bal- 
tasar Carlos.  He  was  the  first  child  of  King  Philip  IV 
and  Queen  Isabella,  and  was  therefore  the  heir- 
apparent  to  the  tlirone  of  a  great  and  powerful  king- 
dom. The  king  was  a  sober,  long-faced  man,  but  the 
prince  was  a  chubby  boy,  of  sunny  nature  and  win- 
ning ways.  Great  hopes  were  centered  in  his  future, 
and  he  was  his  father's  idol  as  well  as  the  darling  of 
the  court.  Whatever  toys  were  to  be  had  were  of 
course  supplied  to  him,  but  in  those  far-away  times 
there  were  none  of  the  wonderful  mechanical  inven- 
tions which  are  made  nowadays  for  children's 
amusement.  To  entertain  the  little  prince,  a  dwarf 
was  employed  as  a  playmate.1  But  Prince  Baltasar 
liked  animals  better  than  toys,  and  playing  with  his 
pets  was  more  fun  than  playing  with  a  dwarf.  This 
pleased  the  king  very  much,  for  he  was  himself  a  true 
sportsman,  and  the  best  horseman  in  Spain.  lie  was 
determined  to  give  his  son  every  advantage  of  fine 

1  See  picture  of  Prince  and  Dwarf  in  the  Boston  Art  Miw-um. 


32      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

physical  training.  The  prince  was  sent  to  a  riding- 
school  when  still  a  tiny  child,  and  showed  great  skill 
and  daring.  His  Uncle  Fernando,  with  whom  he  was 
a  favorite,  was  almost  as  proud  as  was  the  king,  of 
the  boy's  sportsmanship.  He  made  the  prince  fine 
presents  of  armor  and  dogs,  and  once  sent  him  a 
spirited  pony.  By  the  time  Prince  Baltasar  was  six 
years  old,  he  could  ride  his  mount  like  a  little  man, 
sitting  erect  in  the  saddle  with  perfect  ease.  He  had, 
of  course,  many  fine  clothes,  as  became  a  prince,  and 
he  liked  to  wear  a  certain  green  velvet  embroidered 
jacket,  with  a  bright-colored  sash  tied  diagonally 
across  his  breast  with  the  fringed  ends  fluttering 
behind.  With  this  costume  he  had  a  high-crowned, 
broad-brimmed  hat  which  was  very  jaunty.  As  a 
crowning  touch,  his  gauntlets  and  riding-boots  gave 
him  a  look  of  real  manliness.  Dressed  in  this  way  he 
had  many  a  fine  gallop  along  the  country  roads,  exer- 
cising the  plump  little  pony,  which  was  so  well  fed  in 
the  royal  stables  that  it  needed  a  brisk  gallop  now 
and  then.  The  pony  was  as  playful  as  his  rider,  and 
knew  how  to  please  his  master. 

Of  course  a  prince  could  not  ride  unattended.  His 
riding-master  or  some  courtier  followed  at  a  suitable 
distance  to  see  that  no  harm  befell  the  boy.  Some- 
times this  attendant  would  go  on  ahead,  wheel 
around,  and  watch  the  little  cavalier  approach.  Then 
how  proudly  the  six-year-old  boy  would  square  his 
shoulders  and  sit  at  attention.  To  teach  him  how  to 
bear  himself  as  a  king,  he  was  given  a  baton,  the 
symbol  of  authority,  and  told  how  to  carry  it,  and 


PRINCE    BALTASAR   CARLOS   ON    HIS    PONY 

Tin-  Pi  i  '  ■  o  .'.   -■  v.   \fa  frid 


:.•%'•.,.*'•;    :    • . 


HOW  TO  MAKE  PICTURES  TELL  STORIES      33 

how  to  use  it  to  give  orders.  It  was  like  playing  he 
was  field  marshal  at  some  great  military  occasion. 
The  pony  seemed  to  enter  into  the  spirit  of  the  game, 
by  leaping  forward  with  great  effect. 

The  king  had  a  court  painter  named  Velasquez,  of 
whom  he  was  very  fond.  Velasquez  had  become  much 
attached  to  the  royal  household,  and  liked  nothing 
so  much  as  to  paint  the  portrait  of  the  young  prince 
to  please  the  king.  He  had  visited  the  riding-school 
to  watch  the  boy's  progress  in  horsemanship,  and 
often  saw  him  on  his  country  rides.  The  inspiration 
came  to  him  that  he  could  make  a  splendid  picture  of 
the  scene,  and  he  threw  himself  into  this  task  with 
unusual  enthusiasm.  He  used  a  large  canvas,  which 
made  the  subject  seem  very  real  and  lifelike.  The 
king  was  so  proud  of  it  that  he  kept  it  in  his  favorite 
palace,  and  it  has  been  handed  down  to  our  own  day 
in  all  its  original  beauty. 

The  highest  aim  of  every  faithful  parent  is  to  im- 
press upon  the  children  the  necessity  of  fighting 
against  temptation.  So  great  is  the  power  of  evil  in 
the  world  that  we  have  come  to  speak  of  it  in  personi- 
fied form  as  a  terrible  beast  going  about  seeking  whom 
he  may  devour,  or  in  Biblical  phrase  as  the  fallen 
angel  Satan,  the  arch-deceiver,  who  makes  wrong- 
doing attractive  and  lures  the  weak  to  destruction. 
The  old  legend  of  St.  George  and  the  Dragon  is 
really  an  allegory  in  which  the  soul's  victory  over  sin 
is  expressed.  An  attractive  picture  of  this  subject, 
like  Raphael's  or  Carpaccio's,  will  be  a  great  help  in 
the  home  in  teaching  the  desired  moral.   The  subject 


34      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

of  St.  Michael  slaying  the  dragon  is  even  better,  and 
Raphael's  spirited  composition  is  an  admirable  illus- 
tration from  which  to  tell  the  story.  St.  Michael  is 
described  in  the  book  of  Revelation  as  one  of  the 
archangels,  the  warrior  who  leads  the  angelic  hosts  to 
victory  in  the  great  conflict  between  the  powers  of 
light  and  the  powers  of  darkness  (Rev.  ix,  7).  Swift 
as  a  flash  of  lightning  is  his  motion  through  space,  his 
aim  is  unfailing,  his  arm  powerful.  At  his  coming  the 
Evil  One  falls  prostrate  and  writhing,  his  courage 
vanishes  —  for  he  is  really  a  coward ;  he  knows  there 
is  no  hope  for  him,  the  end  has  come.  With  one 
strong,  sure  stroke  the  avenging  spear  does  its  work, 
and  the  enemy  is  put  down  forever.  No  anger  mars 
the  victor's  serene  countenance,  for  his  is  a  holy 
cause.  His  face  shines  with  heavenly  glory.  He  is 
eager  to  be  on  his  way  as  a  messenger  of  peace  rather 
than  an  avenger.  The  world  beyond  is  waiting  for 
him,  and  he  scarcely  pauses  for  his  work;  his  wings 
are  spread,  and  his  body  poised  for  immediate  flight. 
And  so  we,  having  put  down  once  and  for  all  the 
tempting  thought,  go  on  our  way  rejoicing  to  the  good 
deeds  of  the  day. 

In  making  a  picture  tell  its  story,  our  aim  is  to  lead 
the  child  to  look  as  well  as  to  listen.  If  we  do  all  the 
talking  ourselves,  his  attention  will  wander  from  the 
object  before  him.  A  few  questions  will  help  him  to 
draw  out  some  of  the  story  for  himself.  If  he  points 
out  the  salient  features  as  we  mention  them,  his 
interest  is  quickened  and  his  powers  of  observation 
stimulated.   By  and  by  he  will  know  the  picture  by 


HOW  TO  MAKE  TICTURES  TELL  STORIES      98 

heart,  and  is  proud  and  pleased  to  retell  the  story. 
He  will  then  clamor  for  another,  but  he  is  always 
faithful  to  his  iirst  favorites. 

The  joyous  pastime  of  making  pictures  tell  stories 
is  quite  as  feasible  in  the  school  as  in  the  house,  except 
that  here  with  a  larger  audience  the  picture  must  be 
large  enough  for  all  to  see.  Almost  every  modern 
schoolroom,  especially  in  the  primary  grades,  boasts 
at  least  one  such  treasure. 

Millet  is  a  prime  favorite,  and  one  of  the  most 
familiar  schoolroom  subjects  is  the  so-called  Feeding 
her  Birds.  This  is  the  kind  of  picture  which  tells  its 
own  story  so  readily  that  the  children  know  it  by 
heart  and  never  tire  of  it.  The  baby  brother  is  the 
pet  of  the  two  sisters.  They  have  been  playing  to- 
gether in  the  yard,  and  it  was  for  him  that  the  rude 
cart  was  made  which  now  lies  discarded  during  the 
lunch-time.  They  have  played  so  hard  that  they  are 
glad  to  sit  down  in  the  doorway  to  rest.  Their  funny 
wooden  shoes  make  a  noisy  clatter  when  they  are 
moving  about,  but  now  all  is  still  save  for  the  clucking 
of  the  hens  which  run  up  in  the  hope  of  getting  some 
crumbs.  Father  is  still  hard  at  work  in  the  garden 
and  mother  never  rests  but  in  this  feeding-time.  How 
hungry  they  all  three  are,  yet  the  sisters  generously  let 
the  little  brother  have  the  first  taste.  The  younger 
of  two  girls  can  hardly  wait,  but  watches  the  spoon 
with  open  mouth.  Usually  it  is  broth  which  French 
peasant  families  make  the  chief  article  of  a  meal, 
nourishing  and  appetizing.  And  the  warmth  is 
agreeable,    too,    we   may   be  sure.     For   though  the 


36      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

weather  is  mild  enough  for  gardening,  it  is  not  so 
warm  but  that  close  caps  and  high-neck  dresses  are 
worn. 

If  the  school  supply  of  pictures  is  rather  limited,  the 
enthusiastic  teacher  may  supplement  it  with  bor- 
rowed prints  of  large  size  from  outside  sources,  — 
library  collections  and  private  houses.  Who  would 
not  be  glad  to  lend  a  favorite  picture  to  a  schoolroom 
for  a  week,  that  the  picture  might  tell  its  own  beau- 
tiful story  to  the  children?  So  much  has  been  said 
and  written  of  late  about  the  value  of  story-telling  in 
the  schools,  as  a  means  of  recreation  and  education, 
that  it  is  superfluous  in  this  place  to  present  any  argu- 
ments in  its  favor.  Our  teachers  all  believe  in  it  heart- 
ily, but  many  are  timid  in  their  experiments,  and 
lack  confidence  in  their  ability.  Good  pictures  will 
fortify  them  wonderfully  for  the  task  and  furnish  the 
necessary  material. 

It  will  be  seen  that  making  pictures  tell  stories  is 
somewhat  different  from  the  so-called  "  picture  read- 
ing "  used  in  some  schools  as  a  part  of  the  language 
work.  The  latter  is  apt  to  be  fabrication  rather  than 
interpretation,  and  leads  the  child  far  afield.  Is  it  not 
taking  a  great  liberty  with  a  fine  work  of  art  to  tack 
an  entirely  extraneous  story  upon  it?  One  could  so 
easily  spoil  a  good  thing  in  this  way.  The  child 
grown  to  years  of  discretion  may  wish  with  all  his 
heart  he  could  forget  some  of  the  foolish  tales  of  his 
own  invention  about  some  masterpiece. 

Picture  story  subjects  may  be  of  various  kinds, 
dealing  with  child  life  or  ranging  over  all  the  world 


HOW  TO  MAKE  PICTURES  TELL  STORIES      37 

interests,  dealing  with  the  life  of  the  home  or  with 
outdoor  pursuits,  illustrating  history,  legend,  or 
mythology.  In  another  chapter  I  have  classified  sonic 
of  the  material  most  available  and  desirable  for  the 
purpose.  Many  of  us  believe  that  the  most  important 
story  subject  we  can  possibly  present  to  the  children 
in  our  homes  is  the  life  of  Christ.  This  is  the  story, 
too,  which  many  mothers  find  the  hardest  to  tell  at 
their  own  initiative.  The  New  Testament  narrative  is 
a  little  beyond  the  child's  early  understanding,  and  is 
somewhat  lacking  in  the  explicitness  which  the  child 
loves.  The  artist's  imagination  here  comes  to  our  aid 
with  his  wonderful  magic.  With  a  wealth  of  illus- 
trations to  draw  from,  we  have  only  to  set  the  pic- 
tures before  our  children  and  the  story  unfolds  itself 
with  very  simple  interpretation  on  our  part.  We  need 
not  be  troubled  about  theological  explanations,  or 
stumble  over  difficult  Biblical  phrases.  The  picture 
does  all  the  story-t riling.  It  shows  how  the  angel 
Gabriel  came  to  tell  Mary  of  the  high  calling  of  her 
coming  bab.-;  how  the  young  mother  bent  rapturously 
over  her  child  as  he  lay  on  a  bed  of  straw;  how  the 
shepherds  came  from  the  fields,  and  the  wise  men 
from  the  East,  with  their  gifts;  how  the  mother 
carried  her  babe  in  her  arms  aa  she  rode  on  a  donkey 
into  Egypt,  with  Joseph  leading  the  way;  how  the 
twelve-year-old  boy  astonished  the  learned  doctors  in 
the  Temple  by  his  wise  questions;  how  Jesus,  come 
to  manhood,  was  tempted  in  the  wilderness  and 
baptized  in  the  river  Jordan;  how  he  went  about 
doing  good,  gracing  the  wedding  feast,  blessing  the 


38      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

children,  encouraging  the  fishermen,  healing  the  sick, 
and  raising  the  dead ;  how  he  was  transfigured  before 
three  of  his  disciples;  how  he  sat  at  supper  with  the 
twelve  on  the  eve  of  his  betrayal;  how  he  was  ar- 
rested, falsely  accused,  brought  before  Pontius  Pilate, 
and  crucified;  how  he  rose  again  from  the  dead,  ap- 
peared to  Mary  in  the  garden,  ate  supper  with  two  of 
his  friends  at  Emmaus,  and  finally  ascended  into  heaven. 

Some  of  the  print  manufacturers  have  complete 
sets  illustrating  the  life  of  Christ  from  good  works  of 
art.  These  are  desirable  possessions  alike  for  the 
home  and  Sunday  School.  I  am  inclined  to  think, 
however,  that  a  child  prizes  most  a  collection  which 
has  been  accumulated  slowly  rather  than  bought  as  a 
whole,  especially  if  he  adds  to  it  by  his  own  exertions. 
Illustrations  may  be  cut  out  of  magazines,  religious 
weeklies,  and  advertising  literature  of  various  kinds 
and  supplemented  by  bought  prints  and  post-cards. 

I  must  here  tell  of  the  little  nine-year-old  girl  to 
whom  I  once  gave  a  scrapbook  of  my  own  making 
containing  good  Christ  pictures  arranged  in  chrono- 
logical order,  which  became  her  chief  delight.  We 
began  by  reading  the  story  together  as  the  pictures 
unfolded  it.  How  eagerly  we  passed  from  page  to 
page  till  we  reached  the  glorious  climax.  It  was  not 
long  before  she  preferred  to  tell  the  story  all  by 
herself,  and  I  can  still  hear  the  little  voice  falter  sor- 
rowfully over  the  picture  where  his  "cruel  enemies 
crucified  him,"  lingering  tenderly  on  the  next  page 
where  the  loving  women  prepared  him  for  burial,  then 
breaking  out  joyously,  "But  he  rose  again  from  the 


HOW  TO   MAKE   PICTURES  TELL  STORIES      39 

dead  and  finally  ascended  into  heaven."  The  child, 
now  grown  a  woman,  still  keeps  the  tattered  "Jesus 
book"  among  her  cherished  treasures.  What  the 
child's  mother  thought  of  the  book  may  also  be  of 
interest.  It  came  at  a  moment  when  she  most  needed 
it  —  longing  as  she  was  to  have  her  little  girl  know 
and  love  the  Christ  story,  but  feeling  shy  and  incom- 
petent to  tell  it  in  her  own  words.  The  pictures  gave 
her  confidence,  and  literally  furnished  her  vocabulary. 
The  same  sort  of  testimony  came  to  me  some  years 
later  when  I  published  the  Life  of  Our  Lord  in  Art. 
A  woman  who  was  almost  a  stranger  stopped  me  in 
the  street  one  day  to  tell  me  how  she  used  the  book 
as  a  means  of  telling  the  Christ  story  to  her  children. 
"I  didn't  know  just  how  to  begin,"  she  said,  "and 
the  pictures  solved  the  problem  for  me." 

A  picture  story  program  for  Christmas-time  can  be 
arranged  as  a  very  acceptable  entertainment  either 
in  the  home  or  school.  In  the  larger  gatherings  a 
stereopticon  or  radiopticon  is  more  effective,  but  the 
mother  talking  in  her  own  home  circle  can  use  any 
sort  of  prints.  The  Nativity  story  can  be  made  up 
in  a  series  of  pictures  from  the  Old  Masters,  each  one 
interpreted  by  verses  or  old  carols.  Good  Christmas 
poetry  is  as  abundant  as  good  Christmas  art,  and  it  is 
pleasant  to  match  the  subjects,  making  the  poet  tell 
the  story  of  the  picture.  From  my  own  collection  I 
have  arranged  a  list  something  like  this:  — 

1.  Lumi*s  Nativity  in  the  Cathedral  at  Como.  (A  choir  of 

angels   overhead.)    Interpreted    by    a    verse    from 
Richard  Watson  Gilder's  Christmas  hymn:  — 


40      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

"Tell  me  what  is  this  innumerable  throng 

Singing  in  the  heavens  a  loud  angelic  song? 

These  are  they  who  come  with  swift  and  shining  feet 

From  round  about  the  throne  of  God  the  Lord  of  Light  to  greet." 

2.  Correggio's  Notte  of  the  Dresden'Gallery,  or  Fritz  von 
Uhde's  Holy  Night.  Interpreted  by  Alice  Archer 
Sewall's  poem,  "How  Love  Came":  1 — 

"The  night  was  darker  than  ever  before 
(So  dark  is  sin) 
When  the  Great  Love  came  to  the  stable  door 
And  entered  in. 

"And  laid  himself  in  the  breath  of  kine 
And  the  warmth  of  hay 
And  whispered  to  the  stars  to  shine, 
And  to  break,  the  day." 

8.  Van  Dyck's  Presepio,  Corsini,  Rome  (child  asleep  on 
mother's  lap).  Interpreted  by  G.  K.  Chesterton's 
Carol :  — 

"The  Christ-child  lay  on  Mary's  lap." 

4.  Bouguereau's  Repose  (angels  playing  on  musical  in- 
struments and  baby  asleep).  Interpreted  by  the 
Benediction  Carol  (Dyke's) :  — 

"Sleep,  Holy  Babe,  upon  thy  mother's  breast; 
Great  Lord  of  earth  and  sea  and  sky, 
How  sweet  it  is  to  see  thee  lie 
In  such  a  place  of  rest. 

"Sleep,  Holy  Babe,  thine  angels  watch  around, 
All  bending  low  with  folded  wings 
Before  the  incarnate  king  of  kings, 
In  reverent  awe  profound." 

1  From  Ode  to  Girlhood  and  Other  Poems,  copyright  1899,  by  Harper 
and  Brothers. 


HOW  TO  MAKE  PICTURES  TELL  STORIES      41 

5.  Three  Wise  Men  on  the  Way,  by  Portaels,  or  Three 

Magi,  by  La  Farge  (Boston  Art  Museum).  Inter- 
preted by  the  old  hymn,  "We  three  kings  of  Orient 
are,"  or  by  the  third  stanza  of  Richard  Watson 
Gilder's  Hymn. 

6.  Ghirlandajo's  Adoration  of  Kings,  or  Burne-Jones's 

Star  of  Bethlehem.  Interpreted  by  Burdett's  Carol, 
the  second  stanza  of  which  tells,  — 

"How  they  opened  all  their  treasures 
Kneeling  to  that  infant  King; 
Gave  the  gold  and  fragrant  incense 
Gave  the  myrrh  in  offering." 

7.  Lotto's  Adoration  of  the  Shepherds  (at  Brescia,  Ma- 

donna kneeling) .  Interpreted  by  this  verse  by  Estelle 
M.  Hurll,  in  Christian  Endeavor  World,  Christmas, 
1911:  — 

"  Upon  her  knees  before  the  Holy  Child 

The  mother  falls  adoring.   This  is  He 
Whom  prophets  have  foretold,  the  Undefiled, 

Whose  coming  all  the  world  has  longed  to  see. 
A  heavenly  messenger  proclaims  his  birth, 

Angelic  voices  loud  hosannas  sing: 
She  humbly  prays  and  bows  herself  to  earth, 

The  6rst  to  worship  him  as  Christ  the  king." 

8.  Raphael's   Chair  Madonna.    Interpreted  by  an  old 

carol :  — 

"When  I  see  the  mother  holding 
In  her  arms  the  heavenly  boy. 
Thousand  blissful  thoughts  unfolding 
Fill  my  heart  with  sweetest  joy. 
.         ........... 

"Each  round  other  fondly  twining 
Pour  the  shafts  of  mutual  love, 

Thii-k  as  flowers  in  meadows  winning 
Countless  as  the  stars  above." 


42      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

9.  Botticelli's  Madonna  in  the  Louvre.  Interpreted 
by  Alice  Archer  Sewall's  poem,  "Madonna  and 
Child":1  — 

"  Little  Son,  little  Son,  climb  up  to  my  breast, 
And  lie  amid  its  warmth  at  rest." 
But  shut  those  stranger  eyes  from  me, 

My  Rose,  my  Sorrow,  my  Peace  divine, 
And  call  me  '  mother '  and  not  '  Mary,' 

Although  thou  art  not  mine. 

"  It  is  I  would  climb  to  thy  little  breast. 
O,  hold  me  there  and  let  me  rest! 
It  is  I  am  weak  and  weary  and  small, 

And  thy  soft  arms  can  carry  me. 
So  put  them  under  me,  God,  my  All, 
And  let  me  quiet  be." 

10.  Raphael's  Sistine  Madonna,  as  a  climax  to  the  pro- 
gram, is  best  interpreted  by  some  single  verse 
expressing  the  devotional  spirit  of  the  Christmas 
story.  Some  suitable  ones  from  old  church  hymns 
are:  — 

"Good  Christian  men,  rejoice 

With  heart  and  soul  and  voice; 
Now  ye  need  not  fear  the  grave: 

Peace! Peace! 
Jesus  Christ  was  born  to  save. 

Calls  you  one  and  calls  you  all 
To  gain  his  everlasting  hall: 

Christ  was  born  to  save." 
or 

"Praise  to  Jesus,  Holy  Child, 
Gentle  infant  meek  and  mild; 
Who  can  fill  all  hearts  with  peace, 
Who  can  make  all  sorrows  cease. 
Hail  the  messenger  of  love 
Sent  to  man  from  God  above." 

1    From  Ode  to  Girlhood  and  Other  Poems,  copyright  1899,  by  Harper 
and  Brothers. 


THE   GAME   OF   PICTURE-POSING 

Of  many  delightful  ways  of  familiarizing  our  chil- 
dren with  good  art,  the  game  of  picture-posing  is  one 
which  captivates  the  child's  fancy  at  once.  It  is  an 
attempt  to  "act  out"  or  reproduce  a  famous  picture. 
The  child  "plays"  he  is  the  figure  in  the  picture,  and 
assumes  the  same  pose  and  gesture  to  the  best  of  his 
ability.  The  game  is  a  somewhat  modernized  version 
of  one  of  the  most  popular  of  old-time  amusements, 
the  tableau  rivatit.  In  days  when  most  of  our  pleasures 
were  home-made,  "tableaux"  were  next  in  favor  to 
amateur  theatricals.  They  were  a  favorite  pastime 
in  stormy  days  indoors,  when  we  invented  our  own 
subjects  as  we  went  along.  The  multiplication  of 
children's  amusements  has  relegated  this  fashion  to 
the  background,  but  it  is  now  being  revived  in  new 
form.  The  idea  of  reproducing  famous  masterpieces 
has  usually  been  associated  with  the  more  ambitious 
efforts  of  public  entertainments.  To  adopt  it  as  a 
children's  game  is  a  comparatively  new  departure, 
just  as  it  is  a  new  thing  for  children  to  get  masterpieces 
in  penny  prints.  The  plan  is  well  worth  working  out 
both  in  the  home  and  the  school. 

The  theory  is  perfectly  simple.  What  could  make 
children  look  at  a  picture  more  attentively  than  the 
suggestion  that  they  are  to  reproduce  the  action  of 


44      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

the  figures?  To  get  the  pose  and  arrange  the  drapery 
correctly,  they  have  to  make  a  careful  study  of  the 
lines  and  masses  of  the  composition.  While  they  are 
having  a  great  deal  of  fun,  they  are  unconsciously 
learning  something  of  pictures.  They  are  surely  not 
likely  to  forget  the  make-up  of  a  picture  they  have 
handled  in  this  way.  Quite  aside  from  the  art  stand- 
point, such  a  game  is  a  means  of  developing  self- 
expression.  On  this  ground  it  is  of  special  interest 
to  the  primary  teacher.  It  connects  closely  with  the 
dramatic  games  now  growing  in  popularity  in  the 
schoolroom.  Apparently  it  accomplishes  similar 
results  helping  the  child  towards  flexibility  and  free- 
dom, while  it  gives  him  something  worth  remember- 
ing all  his  life. 

Some  wonderful  and  never-to-be-forgotten  morn- 
ings of  picture  games  have  strengthened  my  confi- 
dence in  this  new  educational  method.  I  had  the 
privilege  of  visiting  a  primary  school,  to  try  a  pro- 
gram with  the  children,  and  the  experiment  suc- 
ceeded beyond  my  fondest  expectations.  Besides  my 
parcel  of  pictures,  the  rest  of  the  apparatus  was  of  the 
most  limited  kind.  The  teacher  and  I  had  hastily  col- 
lected a  few  odds  and  ends  in  the  way  of  properties. 
It  is  not  necessary  or  desirable  to  introduce  costumes 
and  accessories  into  the  schoolroom.  In  the  home  the 
conditions  are  altogether  different  and  permit  an 
expansion  of  the  idea  as  I  shall  presently  explain;  but 
in  the  school  the  plan  is  on  the  simplest  basis.  Our 
selection  of  pictures  had  been  made  very  carefully  on 
this  account.    Pose  rather  than  costume  was  the 


THE   GAME  OF  PICTURE-POSING  45 

guiding  principle  of  choice.   So  we  took  the  following 
six  subjects:  — 

Millet's  Sower; 

Titian's  Lavinia; 

Murillo's  Fruit  Venders; 

Madame  Le  Brun  and  her  Daughter; 

Rubens's  Two  Sons; 

William  M.  Chase's  Alice. 

My  big  parcel  was  eyed  with  eager  curiosity,  and 
every  little  face  broke  into  smiles  at  the  announce- 
ment of  a  new  game.  To  prepare  the  way,  the  chil- 
dren first  played  one  of  their  dramatic  games,  and 
while  the  runaway  sheep  were  in  the  meadow,  and  the 
cows  in  the  corn,  little  Boy  Blue  being  fast  asleep  in 
the  corner,  we  had  a  chance  to  pick  out  the  boys  and 
girls  best  adapted  to  the  picture  roles.  It  was  a  slum 
neighborhood  with  a  mixture  of  nationalities;  most  of 
the  children  were  poorly  dressed,  and  some  were  very 
dirty.  It  might  seem  an  unfavorable  field  for  an  art 
experiment.  But  what  we  wanted  most  was  respon- 
siveness, and  this  good  quality  was  found  in  abundant 
measure.  The  Portuguese  children  promised  well  for 
the  Spanish  types  of  Murillo's  street  children,  and 
plenty  of  boys  would  do  for  the  Sower,  but  how  to 
match,  among  the  ill-clad,  anaemic  little  children  of 
the  poor,  the  plump,  richly  gowned  Lavinia,  or  the 
elegant,  high-bred  sons  of  Rubens?  However,  we  did 
not  let  such  difficulties  deter  us.  These  sons  of  toil 
need  the  picture  study,  even  more  than  the  children  of 
the  rich,  to  bring  beauty  into  starved  lives.    We  had 


46      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

come  for  their  benefit,  not  to  arrange  an  elaborate  art 
entertainment  for  a  cultured  audience. 

We  began  our  program  by  fastening  to  the  black- 
board a  large  photograph  of  the  Sower,  and  telling  the 
familiar  but  ever  new  story  of  seed-time  and  harvest : 
how  the  sower  carries  in  his  bag  the  precious  grain  to 
feed  many  hungry  folk;  how  the  seed  falls  into  the 
ground  to  soften  and  swell  and  push  up  a  tiny  shoot; 
how  the  blades  grow  into  tall,  strong  stalks  which 
bear  the  wheat-ears;  how  the  grain  ripens  and  is 
made  into  flour,  and  finally  into  fragrant  loaves  of 
bread.  The  sower's  task  is  far-reaching  in  its  results, 
and  he  regards  the  planting  season  very  seriously. 
The  story  made  every  boy  in  the  room  want  to  be  a 
sower,  and  we  called  up  a  little  fellow  to  the  desk 
and  posed  him  just  below  the  picture.  The  rest  of  the 
children  formed  an  expectant  audience,  looking  from 
picture  to  poser  to  pronounce  upon  the  merits  of  the 
reproduction.  The  small  sower  was  given  a  half-tone 
print  to  examine  carefully,  and  then  he  manfully 
stepped  forth  as  if  to  his  task.  The  teacher's  large 
shopping-bag  was  slung  over  his  left  arm  and  we 
taught  him  how  to  fling  his  right  arm  to  and  fro  to 
scatter  the  seed,  describing  the  arc  of  a  circle  in  the 
motion.  After  repeating  this  action  several  times,  we 
arrested  his  arm  at  the  proper  point  to  imitate  the 
gesture  of  the  picture.  We  were  well  satisfied  with  his 
success,  and  if  his  tremulous  smile  was  not  quite  like 
the  solemn  dignity  of  the  Norman  peasant,  it  was 
certainly  pleasant  to  see. 

Titian's  Lavinia  now  replaced  the  Sower  on  the 


MADAME    LE    BRUN    AND    HER    DAUGHTER 


THE   SOWER 
FAMOUS   PICTURES     IS    POSED    BY    SCHOOl     CHILDREN 


»    %  •  r 


TIIE   GAME  OF  PICTURE-POSING  47 

wall,  and  the  children  listened  to  the  story  of  the  old 
Venetian  painter's  devotion  to  his  motherless  daugh- 
ter. I  told  them  how  he  loved  to  dress  her  in  pretty 
clothes  to  make  pictures  of  her;  how  he  used  to  send 
for  her  when  he  was  entertaining  his  guests  in  the 
garden  and  let  her  bring  luscious  fruits  for  their 
refreshment.  When  the  question  came,  "Would  any 
little  girl  like  to  play  Lavinia?"  every  girl  in  the 
room  was  at  our  disposal.  A  little  Jewess  with  kinky 
hair  and  round  face  came  nearest  to  the  type,  but  her 
"middy  blouse"  made  her  impossible.  The  child 
who  wore  the  right  kind  of  dress  (as  to  cut)  had  little 
sticks  of  arms  too  weak  to  lift  a  tray  of  fruit.  Here 
was  a  dilemma  till  the  resourceful  teacher  hit  upon 
the  simple  expedient  of  having  the  two  exchange 
dresses  for  a  few  minutes.  Lavinia  advanced  shyly, 
but  forgot  herself  in  the  absorbing  occupation  of 
arranging  the  fruit  just  as  in  the  picture.  We  had 
supplied  a  ten-cent  silver  tray  for  the  purpose.  Care- 
fully but  decidedly  the  child  placed  each  apple,  then 
set  the  lemon  aslant  in  the  foreground,  and  laid  on 
top  the  pink  cotton  rose  we  gave  her.  Then  she  took 
a  long,  steady  look  at  the  picture,  as  she  was  bidden, 
lifted  the  tray  to  the  level  of  the  forehead,  turned  her 
face  to  the  audience,  and  behold  Lavinia  in  the  flesh. 
With  instinctive  grace  she  had  poised  the  tray  in 
exactly  the  right  way,  her  plump  arms  describing  the 
same  curve  as  the  original  Lavinia's.  An  immediate 
success  like  this  is  a  rare  inspiration.  Perhaps  one 
ought  not  to  expect  to  reach  perfection  twice.  When 
the    photographer    came    the    next    week    to    catch 


48      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Lavinia  in  his  camera,  the  long  delay  in  setting  up 
the  instrument  wearied  the  child,  and  stiffened  her 
muscles.  At  the  critical  moment  she  clutched  the 
tray  bravely  but  awkwardly,  and  did  not  lift  it  high 
enough  to  produce  the  right  effect.  So  our  best  pic- 
ture of  this  little  school  Lavinia  is  only  a  memory. 

The  story  of  the  Fruit  Venders  appealed  mightily 
to  a  class  of  children  who  themselves  earn  money  by 
selling  fruit,  candy,  and  papers.  As  the  photograph 
was  pinned  up,  it  brought  forth  a  murmur  of  ap- 
proval :  the  subject  was  within  the  experience  of  the 
audience.  The  girl  of  the  picture  has  sold  out  her 
stock  and  is  counting  over  her  earnings,  while  the  boy, 
who  is  but  just  setting  forth,  looks  on  with  generous 
pleasure  in  her  success.  It  is  a  charming  tale  of  cheer- 
ful industry  and  good  fellowship.  We  chose  a  boy 
and  girl  of  the  same  relative  ages,  who  were  much 
in  earnest  to  do  their  parts  well.  An  empty  waste- 
basket  was  rather  an  inadequate  representation  of 
the  young  merchant's  large  stock  of  Andalusian 
grapes,  but  it  was  of  the  proper  size  and  shape  for  the 
pose,  and  happily  the  children's  imagination  was 
equal  to  the  supply  of  this  trifling  deficiency. 

Madame  Le  Brun  and  her  Daughter  requires  no 
accessories,  and  of  course  we  did  not  disrobe  our 
model  like  the  lady  of  the  picture.  The  photograph 
brought  forth  the  story  of  another  idolized  artist's 
daughter,  the  painter  this  time  being  a  charming 
Frenchwoman,  A  picture  or  a  story  illustrating 
family  love  is  always  welcomed  by  the  teacher  as  an 
opportunity  to  impress  an  obvious  lesson.    For  this 


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Berlin  Gallery 


THE  GAME  OF  PICTURE-POSING  49 

group  we  arranged  a  teacher  with  an  affectionate 
little  girl  who  was  only  too  pleased  to  embrace  the 

object  of  her  affection.  The  subject  is  not  quite  so 
easy  aa  it  looks:  the  lady  must  be  seated  at  a  height 
to  require  the  child  while  standing  to  reach  up  a  bit 
to  bring  her  head  to  the  mother's  chin.  The  little  arm 
must  fall  within  the  bend  of  the  larger  arm,  to  form  a 
parallel  curve.  When  the  group  is  arranged  the  out- 
line should  describe  the  form  of  a  pyramid. 

Rubens's  Sons  is  a  lovely  presentation  of  brotherly 
companionship.  When  this  picture  was  put  up,  I 
explained  the  rich  velvet  and  satin  costumes  as  the 
Flemish  court  dress  of  the  seventeenth  century.  The 
artist  was  court  painter  to  the  Archduke  Albert  and 
Isabella,  and  was  in  high  favor  with  royalties.  So  he 
gave  his  eldest  son  the  name  of  his  patron,  and  both 
buys  enjoyed  all  the  advantages  of  his  wealth  and 
station.  But  fine  clothes  did  not  seem  to  spoil  them 
as  they  sometimes  do  less  sensible  lads;  their  frank 
round  faces  make  them  very  likable.  It  happened 
that  one  of  the  boys  in  our  school  was  an  Albert,  and 
he  was  eager  to  play  the  part  of  Albert  Rubens.  For 
the  younger  boy,  whose  name  was  Nicholas,  we 
found  a  lad  of  proportionate  height.  The  two  took 
their  places  below  the  picture.  Of  course  boys  are  not 
expected  to  wear  velvet  and  satin  in  school,  and  our 
models  were  not  at  all  embarrassed  by  their  shabbi- 
ness.  They  were  proud  and  pleased  with  the  honor, 
and  blissfully  unconscious  of  any  incongruity  between 
their  threadbare  suits  and  the  elegant  attire  of  their 
prototypes.    Indeed,  for  the  time  being  they  fancied 


50      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

themselves  dressed  like  the  picture.  As  they  looked 
at  the  print  we  asked  each  in  turn,  "How  are  the  feet 
placed?"  "Where  is  the  right  hand?"  "Where  the 
left?"  and  at  every  inquiry,  the  member  in  question 
assumed  the  proper  position.  A  curious  detail  in  the 
picture  is  the  captive  goldfinch  whose  perch  is  held 
by  the  younger  boy.  To  secure  a  similar  use  of  the 
hands  we  took  a  school  ruler.  It  occurred  to  me  after- 
wards that  a  more  pictorial  substitute  would  have 
been  a  small  flag,  or  perhaps  a  whirling  paper 
"windmill." 

The  picture  of  Alice  needs  but  little  explanation  to 
the  average  school  girl.  Skipping  rope  is  one  of  the 
favorite  games  which  never  loses  its  fascination.  To 
substitute  a  ribbon  for  a  rope  and  draw  it  tightly 
across  the  back  seems  a  simple  matter.  Yet  the  pic- 
ture is  hard  to  make  satisfactory  simply  because  it 
requires  entire  self-forgetfulness  to  free  it  from  stiff- 
ness. The  original  Alice  is  having  a  delightful  time 
with  no  thought  of  looking  pretty.  Our  little  Alice, 
when  practicing  privately  in  the  school  hall,  threw 
herself  into  the  game  with  charming  abandon  and 
grace,  not  unworthy  of  the  original.  But  when  the 
eyes  of  the  schoolroom  were  focused  upon  her,  she 
lost  her  charm.  Only  a  'premiere  danseuse  would  feel 
at  ease  under  such  circumstances. 

We  carried  the  picture  program  from  grade  to 
grade,  and  in  each  room  made  a  special  hit  with  some 
one  subject.  With  older  classes  we  took  more  pains  to 
explain  the  lines  of  the  composition,  illustrating  the 
idea  by  simple  diagrams  on  the  blackboard.    The 


THE  GAME  OF  PICTURE -POSING  51 

counterbalancing  diagonals  in  the  figure  of  the  Sower, 
as  well  as  of  Alice,  the  pyramidal  outline  of  the  group 
of  the  Fruit  Venders  and  Madame  Le  Brun  and  her 
Daughter,  tlu>  curves  of  Lavinia's  swaying  body  and 
uplifted  arm,  were  all  pointed  out  in  the  pictures  and 
in  the  models.  A  six-subject  program  is  inordinately 
long,  and  was  permitted  only  for  purposes  of  experi- 
ment. Under  ordinary  circumstances,  in  the  school- 
room, a  single  picture  at  a  time,  like  a  single  dramatic 
game  or  a  story,  is  quite  enough  for  an  occasional 
exercise.  A  pleasant  device  for  giving  all  the  children 
a  chance  to  take  part  is  to  have  the  girls  all  stand- 
ing together  for  the  Lavinia  pose,  and  the  boys  all 
together  for  the  Sower.  A  single  girl  and  boy  may 
then  be  called  out  to  pose  for  the  class. 

When  we  see  how  much  can  be  done  with  the  game 
cf  picture-posing  in  the  school,  it  is  easy  to  imagine 
the  almost  endless  possibilities  for  its  enjoyment  in 
the  home.  Here  there  is  no  need  of  haste,  as  in  the 
schoolroom,  and  time  and  thought  may  go  towards 
perfecting  the  result.  Here,  too,  are  facilities  for 
accessories  and  costumes  to  complete  the  faithfulness 
of  the  reproduction.  The  repertory  of  subjects  can  be 
greatly  enlarged.  Many  pictures,  impracticable  in 
the  schoolroom  for  lack  of  theatrical  properties,  can 
be  worked  out  easily  in  the  home.  With  a  large  fam- 
ily of  children  or  a  neighborhood  circle,  it  may  be 
developed  as  tar  as  one  may  wish.  The  effect  is  en- 
hanced by  the  use  of  a  frame. 

It  is  important  to  hold  the  children  to  a  strict  ideal 
of  accuracy  in  the  essentials.   For  this  reason  a  single 


52      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

picture  should  be  done  over  and  over  again.  We 
become  fond  of  certain  ones,  as  of  certain  oft- 
repeated  songs.  Every  attempt  ought  to  better 
previous  efforts,  and  all  the  family  must  learn  to  be 
very  critical.  Every  detail  of  the  composition  should 
be  examined,  remembering  that  nothing  is  too  small 
to  have  a  reason  for  its  introduction.  The  angle  at 
which  a  hat  is  set,  the  direction  of  the  eyes,  even  the 
length  of  a  ribbon,  may  seriously  affect  the  success  of 
the  picture. 

Picture-posing  opens  a  very  interesting  class  of 
subjects  for  the  amateur  photographer.  When  his 
ingenuity  is  taxed  for  new  ideas,  he  can  find  pleasure 
and  profit  in  reproducing  the  compositions  of  the 
masters.  If  he  has  groups  of  figures  to  arrange,  he 
may  interest  his  sitters  in  posing  a  la  some  famous 
portrait  group  of  an  old  master. 

The  subjects  for  picture  games  cannot  be  chosen  at 
random.  A  great  deal  of  thought  must  go  into  the 
selection.  Millet's  figures  are  admirably  adapted  to 
the  purpose.  They  have  the  plastic  qualities  of 
sculpture,  and  by  merely  reproducing  attitude  and 
gesture,  the  poser  suggests  the  essential  quality  of 
the  original.  Other  artists  have  made  much  of  cos- 
tume, and  the  success  of  the  reproduction  depends 
upon  the  careful  study  of  these  details.  This  is  the 
case  with  Van  Dyck  and  Velasquez.  The  English 
and  Spanish  royalties  whom  they  painted  would 
never  be  recognized  without  their  court  finery,  for 
there  is  little  distinctive  in  their  attitude  or  gesture. 
Many  famous  portrait  heads  by  the  old  masters  are 


THE  GAME  OF  PICTURE-POSING  53 

remembered  for  their  quaint  or  fantastic  headgear: 
the  so-called  Beatrice  d'Este  with  her  gold-meshed 
hair-net;  Beatrice  Cenci,  with  her  big  turban;  Hol- 
bein's Jane  Seymour,  with  her  pointed  cap;  Botti- 
celli's Lucrezia  Tornabuoni,  with  the  pearl  festoons 
and  strange  aigrette.  Some  of  Reynolds's  child 
pictures  are  delightful  subjects  within  reach  of  all. 
Penelope  Boothby's  mob  cap  and  lace  mitts,  Sim- 
plicity's cap,  and  the  Strawberry  Girl's  turban  are 
easily  imitated.  Of  course,  the  kind  of  portrait 
painting  which  depends  upon  psychological  interest 
is  quite  beyond  the  province  of  our  simple  game. 

An  elaborate  landscape  composition  is  also  obvi- 
ously impossible  in  house  tableaux  without  painted 
scenery,  and  it  is  best  not  to  be  too  ambitious  in  this 
direction,  keeping  to  the  simplest  settings.  An  out- 
of-doors  program  may  be  arranged  in  the  summer, 
making  a  unique  entertainment.  Then  the  Sower, 
and  the  Lark,  Murillo's  Beggar  Boys,  and  some  of 
Reynolds's  portraits  can  be  rendered  with  most 
satisfactory  effect. 

After  a  few  experiments  in  picture-posing,  children 
will  enjoy  selecting  their  own  subjects,  rummaging 
through  illustrated  books  and  magazines  for  their 
material.  The  following  lists  may  be  helpful  as  a 
beginning:  — 

Single  Girl  Figures  — 

Titian's  Lavinia. 
Chase's  Alice. 

Reynolds's  Penelope  Boothhy,  Age  of  Innocence,  Miss 
Bowles,  Strawberry  Girl. 


54      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Bouguereau's  Broken  Pitcher. 

Greuze's  Broken  Pitcher. 

Madame  Le  Brun's  Girl  with  Muff. 

Hoecker's  Girl  with  Cat. 

Breton's  Lark,  the  Gleaner,  the  Shepherd's  Star. 

Girl  portraits  requiring  careful  costuming  — 

Old  Italian  —  Beatrice  d'Este. 

Titian's  Bella. 

Van  Dyck's  Princess  Mary  (detail  of  the  group  of  Chil- 
dren of  Charles  I). 

Velasquez's  Princess  Margaret  (bust  in  the  Louvre). 

Velasquez's  Princess  Margaret  (full  length  in  Vienna). 

Velasquez's  Princess  Maria  Theresa  (full  length  in 
Madrid). 

Single  Boy  Figures  — 

Millet's  Sower. 

French's  Minute  Man  (sculpture). 

Velasquez's  Mcenippus,  iEsop. 

Manet's  Boy  with  a  Sword. 

Reynolds's  Little  Samuel. 

Volk's  Young  Pioneer. 

Sully's  Torn  Hat  (head  only). 

Cuyp's  boy  head. 
Boy  portraits  requiring  careful  costuming  — 

Gainsborough's  Blue  Boy. 

Millais's  Bubbles. 

Watteau's  Gilles  of  the  Louvre  (without  accessory 
figures). 

Van  Dyck's  William  of  Nassau. 

Van  Dyck's  Prince  Charles  (detail  of  the  group  of  Chil- 
dren of  Charles  I). 

Van  Dyck's  Prince  James  or  "  Baby  Stuart "  (detail  of 
the  above  group). 

Paris  Bordone.  Boy's  head. 

Two  Boys  — 

Rubens's  Sons. 

Millais's  Princes  in  the  Tower. 


THE  GAME  OF  PICTURE-POSING  55 

Boy  and  Girl  — 

Murillo's  Fruit  Venders. 

Millet's  Potato  Planters,  Angelus,  and  Going  to  Work. 
Boughton's  John  Alden  and  Priscilla. 
Millais's  Huguenot  Lovers. 

Van  Dyck's  Prince  William  and  Princess  Mary  (elab- 
orate costumes). 

Older  Girl  and  Small  Child  — 

Bouguereau's  Sister  and  Brother. 
Millet's  Knitting  Lesson. 
Madame  Le  Brun  and  her  Daughter. 
Sergeant  Kendall's  An  Interlude. 

Older  Girl  and  Two  Children  — 
Abbot  Thayer's  Caritas  and  Virgin  Enthroned. 


VI 


PRACTICAL   SUGGESTIONS   TO   THE  MOTHER   FOR 
THE   CHILD'S    PICTURE   EDUCATION 

To  surround  the  child  with  good  pictures  chosen 
from  subjects  of  greatest  interest  to  him  and  in  suf- 
ficient variety,  to  train  his  eye  gradually  in  artistic 
discrimination  and  color  feeling,  to  awaken  his  sense 
of  joy  in  beauty,  —  this  has  been  the  burden  of  my 
little  preachment.  So  may  we  wisely  foster  a  love  of 
art  which  will  delight  and  enrich  his  life.  The  mother 
who  has  these  aims  in  view  always  welcomes  eagerly 
any  helps  towards  carrying  them  out.  Story-telling 
and  the  game  of  posing  I  have  described  at  some 
length  as  two  important  picture  pleasures  of  the 
home  and  school.  It  still  remains  to  make  a  few 
practical  suggestions  to  mothers  who  are  anxious  to 
provide  every  advantage  for  the  child. 

To  begin  with,  the  nursery  decorations  are  of 
prime  importance.  The  place  should  be  a  veritable 
picture  gallery  of  delight  to  the  little  folks.  For  a 
child's  symmetrical  development,  there  should  be  as 
much  variety  as  possible  in  the  selections,  both  in 
subject  and  treatment.  Delightful  as  are  Sir  Joshua's 
children,  and  beautiful  as  is  the  Madonna  theme,  the 
nursery  should  not  be  all  Sir  Joshuas  and  Madonnas. 
Where  two  Madonna  pictures  are  hung  they  should 
represent  quite  dissimilar  ideals :  the  Chair  Madonna 


PRACTICAL  SUGGESTIONS  57 

contrasted  with  the  Sistine,  an  Italian  work  with  a 
German,  or  an  old  master  with  some  modern  picture. 
In  methods  of  arrangement,  some  of  the  kindergarten 
ideas  may  be  borrowed  to  advantage  as  they  are 
ingenious  and  practical.  A  frieze  on  the  level  of  the 
child's  eyes,  made  of  separate  prints  and  changed 
from  time  to  time,  is  a  pretty  thing.  Also  a  burlap 
screen  on  which  pictures  may  be  fastened  tempo- 
rarily. The  color  element  should  be  decidedly  promi- 
nent but  should  be  carefully  studied  to  harmonize 
with  the  scheme  of  decoration.  The  bright,  crude 
prints  once  regarded  as  peculiarly  adapted  to  chil- 
dren have  given  place  to  artistic  process  work  in 
soft  tints  and  low  key,  which  the  child  soon  learns  to 
prefer.  Anything  that  is  good  in  itself  may  be  pressed 
into  service,  however  cheap  the  form,  post-cards  in 
harmonious  colors,  magazine  supplements,  artistic 
calendars,  and  what-not.  But  with  all  the  cheap  and 
transient  material,  let  us  have  one  truly  great  thing 
as  a  fixture  in  the  nursery,  as  an  inspiring  influence 
to  follow  one  from  the  cradle  to  the  grave.  A  Ma- 
donna and  Child,  St.  Michael  and  the  Dragon,  the 
Boy  Christ  in  the  Temple,  the  Children  of  the  Shell, 
or  the  Guardian  Angel  are  especially  good  for  this 
purpose.  For  other  subjects  consult  the  lists  of  ani- 
mal, child  and  story  pictures.  If  the  house  is  too 
small  for  a  distinctive  nursery,  the  living-room  should 
contain  at  least  one  conspicuous  picture  which  is  of 
special  interest  to  the  child.  One  of  Millet's  sub- 
jects makes  an  excellent  all-around  family  favorite. 
Illustrated  children's  books  should  be  chosen  with 


58      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

great  care.  It  is  false  economy  to  buy  crude,  poor 
books  from  the  bargain  counters  in  order  to  spend 
more  money  on  toys  and  other  less  important  nursery 
furnishings.  A  really  good  illustrated  book  is  copy- 
righted and  commands  a  good  price,  as  it  should,  but 
it  is  worth  the  cost.  Happy  the  nursery  possessing 
any  of  Boutet  de  Monvel's  priceless  volumes,  or 
Walter  Crane's  illustrated  fairy  tales,  or  Kate 
Greenaway's  lovely  designs.1 

Not  the  least  attractive  of  illustrated  nursery 
volumes  are  the  children's  scrapbooks  of  their  own 
making.  For  this  purpose  the  material  should  be 
accumulated  gradually,  as  a  delightful  pursuit,  the 
mother  gently  directing  the  collection  that  it  may 
consist  of  really  good  things.  It  is  best  not  to  draw 
the  lines  too  sharply  to  discourage  a  child,  but  so  far 
as  possible  weed  out  inferior  pictures  from  time  to 
time.  A  scrapbook  of  miscellaneous  pictures  is  best 
adapted  to  the  little  ones,  but  as  children  grow  older 
they  are  more  interested  to  specialize  in  their  col- 
lections. Definite  subjects  may  be  chosen  for  their 
books :  animals,  child  figures,  mythology,  chivalry,  his- 
tory, Italian  art,  American  art,  Bible  story,  the  life  of 
Christ,  famous  beauties,  authors,  royalties  and  so  on. 
A  very  pleasing  idea  for  boys  and  girls  bearing  his- 
torical names,  or  names  of  saints,  is  to  find  pictures  of 
their  famous  prototypes.   The  Georges  may  look  for 

1  Among  present-day  illustrators,  Jessie  Wilcox  Smith,  Millicent  Sow- 
erby  and  Arthur  Rackham  do  charming  work  for  children.  A  beautiful 
art  treasure  for  children  is  Mrs.  Isabel  Anderson's  Great  Sea  Horse,  a  col- 
lection of  fairy  tales  with  illustrations  designed  by  the  mural  painter, 
John  Elliott. 


t  •       \    »-•    -;'■■•.     t  Br*ua    '  lemrat  ^  I   >. 


I  1  I  DING  HER   BIRDS 


PRACTICAL  SUGGESTIONS  59 

the  subject  of  St.  George  and  the  Dragon,  or  for  the 
figure  of  St.  George  in  armor  represented  in  so  many 
old  altar  pieces.  They  will  find  also  portraits  of  sover- 
eigns, painters,  and  poets  of  that  name,  as  well  as  a 
certain  United  States  President.  The  Marys,  Cath- 
erines, and  Margarets  will  find  charming  pictures 
of  saints  of  corresponding  names  among  the  works  of 
old  Italian  masters.  Cooperation  and  competition 
are  the  life  of  collections  as  of  business.  The  children 
will  keep  up  their  interest  much  longer  if  the  parents 
join  with  them  in  their  search,  and  the  fashion  must 
spread  through  the  neighborhood  to  give  greatest  zest 
to  the  game. 

Never  throw  away  a  good  picture.  A  large  box  or 
drawer  may  be  set  apart  for  the  purpose  and  the 
children  taught  to  carry  thither  every  print  or  card 
that  falls  into  their  hands,  and  which  for  the  moment 
they  do  not  know  where  to  place.  From  time  to 
time  the  contents  may  be  examined  and  sorted. 
Some  of  the  pictures  will  do  for  one  kind  of  scrapbook 
and  some  for  another.  Some  may  be  laid  between  the 
pages  of  books,  as  extra  illustrations.  Your  books 
of  history,  travel,  and  biography  may  be  greatly  en- 
riched in  this  way  by  portraits  and  views  collected 
from  various  sources.  Some  of  the  tiny  pictures  may 
be  put  together  for  doll's  scrapbooks.  Some  may 
be  mounted  on  cards  for  Christmas  or  birthday  gifts, 
decorated  with  appropriate  inscriptions  —  or  quota- 
tions from  poetry.  Growing  boys  and  girls  should  be 
encouraged  to  fill  their  own  rooms  with  pictures  of 
their  own  choosing.    Even  if  they  make  mistakes,  the 


60      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

experience  will  help  towards  forming  their  taste.  They 
usually  get  together  a  medley  of  posters,  souvenir 
programs,  college  pennants,  valentines,  and  snap- 
shot photographs.  But  in  the  midst  let  us  see  that 
they  have  some  really  good  picture  which  has  come 
as  a  Christmas  or  birthday  gift.  Some  strong  and 
interesting  heads  for  a  boy's  room  are  Michelan- 
gelo's David,  Rembrandt's  Officer,  and  Frans  Hals's 
Laughing  Cavalier.  A  girl  of  fine  feeling  likes  the 
heads  now  commonly  separated  out  by  photograph- 
ers from  famous  compositions  of  old  masters  (Luini, 
Perugino,  Raphael,  Titian,  etc.);  Angels,  Saints, 
or  Madonnas.  Burne-Jones's  Flamma  Vestalis,  or 
Rossetti's  Blessed  Damozel  are  also  favorites.  Other 
subjects  of  suitable  kinds  for  our  young  folks'  rooms 
are  suggested  in  the  various  lists  scattered  through 
these  chapters. 

The  practice  of  taking  our  children  to  art  mu- 
seums and  exhibitions  is  one  which  cannot  be  too 
often  urged  upon  parents.  It  is  worth  making  a  great 
effort  and  even  going  a  long  distance  from  time  to 
time  to  afford  the  child  this  advantage.1  Such  a  visit 
must  be  made  a  genuine  treat,  —  not  a  disguised 
lesson,  —  planned  and  talked  of  beforehand  as  a 
festive  occasion.  Naturally  it  is  a  part  of  the  festivity 
to  have  a  car-ride  and  a  luncheon.  The  first  object  is 

1  In  the  Metropolitan  Museum,  New  York,  delightful  art  lectures  for 
children  have  drawn  hundreds  of  juvenile  visitors  to  the  place  and  in 
Boston  professional  story-tellers  are  employed  to  conduct  children's 
parties  through  the  Museum.  But  these  public  methods,  valuable  as  they 
are,  should  not  be  substituted  for  the  visits  of  parents,  with  their  own 
children,  to  study  the  pictures  together. 


PRACTICAL  SUGGESTIONS  61 

to  pet  impressions,  and  as  the  whole  atmosphere  of 
the  place  is  unique,  it  eannot  fail  to  produce  some 
effect  upon  the  imagination.  One  need  not  feel  dis- 
COUraged  if  the  children  come  away  without  having 
apparently  learned  anything.  A  long  time  after  they 
may  refer  to  something  you  supposed  they  did  not 
notice.  A  second  visit  brings  a  pleasant  sense  of 
familiarity.  They  enjoy  recognizing  something  they 
saw  before,  and  look  at  it  now  a  bit  more  attentively. 
Little  by  little  you  may  bring  them  around  to  look 
at  vour  own  favorites,  or  draw  their  attention  to  the 
best  things.  But  you  must  begin  diplomatically  and 
bide  your  time.  If  a  child  is  going  to  enjoy  himself, 
you  must  not  be  too  officious  in  leading  the  way.  If 
you  say,  "Come,  look  at  this,"  he  may  hang  back  a 
little.  But  if  you  suddenly  leave  him  and  start  off  on 
your  own  account  to  look  at  some  picture,  he  is 
pretty  sure  to  follow.  There  is  absolutely  no  use  in 
deciding  beforehand  what  pictures  you  are  going  to 
show  a  child,  or  what  he  will  like  best.  The  one  thing 
you  can  count  on  is  that  he  will  surprise  you.  I 
remember  the  first  time  I  took  a  small  boy  to  the 
Boston  Art  Museum  bent  on  educational  ends,  I  had 
hard  work  to  get  him  out  of  the  Japanese  Garden, 
and  as  soon  as  he  had  dutifully  followed  me  through 
the  picture  gallery  he  wished  to  return  to  this  en- 
chanted spot.  A  little  friend  whom  I  took  to  the 
American  Old  Masters  room,  for  the  express  purpose 
of  seeing  the  George  and  Martha  Washington  por- 
traits, was  so  entranced  with  the  antique  pianos  that 
he  cast  but  a  single  languid  glance  at  the  Father  of  his 


62      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

country.  But  he  surprised  me  quite  as  much  when  we 
were  hurrying  through  the  next  room,  where  I  was 
sure  there  was  nothing  to  interest  him,  by  pausing 
before  the  great  Velasquez,  the  Prince  Baltasar  and 
Dwarf,  with  sudden  decisive  approval,  "That's  a  nice 
picture."  And  so  it  is.  After  all,  what  does  it  matter 
what  the  child  likes  best,  pianos,  pictures,  or  what- 
not, so  long  as  it  is  something  in  this  fairyland  of  art 
which  will  make  him  want  to  come  again?  That  is  the 
great  desideratum.  A  picture  gallery  on  a  free  day  is 
a  delightful  resort  for  children.  One  can  pick  up 
many  chance  acquaintances  there.  The  choosing 
game  almost  always  meets  a  response.  I  have  some- 
times managed  to  make  friends  very  quickly  with 
stray  young  visitors  by  proposing  that  we  all  walk 
around  slowly,  and  choose  the  picture  we  like  best. 
The  Modern  Masters  room  at  the  Boston  Museum 
has  many  favorites.  I  have  seen  boys  there  quickly 
choose  Regnault's  Horses  of  Achilles,  the  Boy  with 
the  Hurdy-Gurdy,  and  Tarbell's  beautiful  portrait  of 
children  on  horseback. 

The  use  of  the  camera  opens  a  valuable  opportu- 
nity for  training  boys  and  girls  in  matters  of  art.  The 
young  photographer  wants  to  learn  to  make  pictures, 
and  his  experiments  duplicate  in  a  far-off  way  the 
experience  of  the  great  artists.  His  first  care  is  to  get 
the  image  in  the  right  place  on  the  plate.  If  he  is 
taking  a  house,  he  must  have  enough  sky  above  it, 
enough  grass  in  the  foreground,  and  enough  space  on 
each  side  to  look  well.  Repeated  attempts  show  him 
what  different  effects  he  gets  by  changing  the  dis- 


PRACTICAL  SUGGESTIONS  63 

tance  and  the  point  of  view.  He  begins  to  realize  that 
a  landscape  painter  has  a  reason  for  every  tree  and 
rock  in  his  picture.  When  there  are  figures  to  photo- 
graph, t  he  arrangement  of  the  lines,  the  position  of  the 
hands,  the  turn  of  the  head,  and  the  focus  of  the  eyes 
arc  all  points  to  notice.  If  the  amateur  is  really  anxious 
to  do  good  work,  the  pictures  of  the  masters  sud- 
denly become  very  interesting  to  him.  The  Raphaels, 
Titians,  and  Rembrandts,  once  regarded  as  very  dull 
and  grown-up  subjects,  are  found  worthy  the  study 
of  every  aspiring  young  photographer.  What  better 
arrangement  for  a  mother  holding  a  baby  than  in  the 
Granduca  Madonna  (Raphael)?  "What  pose  more 
graceful  than  that  of  the  Man  with  the  Glove  (Ti- 
tian)? And  when  was  a  group  about  a  table  more 
beautifully  planned  than  in  the  Syndics  of  the  Cloth 
Guild  (Rembrandt)?  The  young  people  whose 
camera  work  teaches  them  to  appreciate  such  pic- 
tures have  made  an  excellent  beginning  in  art  study. 

The  amateur's  artistic  progress  depends  very  much 
upon  the  help  of  parents.  Indiscriminate  praise  is 
almost  as  bad  as  indifference.  Sympathetic  criticism 
is  just  what  is  needed.  The  right-minded  boy  or  girl 
is  glad  to  learn  how  the  work  can  be  bettered. 

In  a  home  adorned  with  good  works  of  art,  where 
all  the  family  are  familiar  with  pictures,  many  little 
picture  games  may  be  invented  to  play  with  the  chil- 
dren. There  is  one  in  which  each  by  turn  describes  a 
picture  for  the  others  to  guess  the  name.  A  half-hour 
of  this  easy  guessing  is  very  pleasant  while  sitting  on 
the  piazza  in  the  dark  of  summer  nights.  The  game  is 


64      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

made  harder  when  the  mother  describes  an  altogether 
new  picture,  and  the  children  listen  intently  in  order 
to  identify  it  among  a  mixed  collection  of  picture 
postals  and  prints  brought  forth  at  the  close  of  the 
description.  Mothers  will  also  find  that  a  bedtime 
picture  may  occasionally  be  substituted  for  a  bed- 
time story,  the  picture  being  vividly  described,  not 
actually  seen.  The  love  of  pictures,  like  the  love  of 
books  and  music,  binds  parents  and  children  together 
in  delightful  intimacy,  and  will  permeate  all  the  home 
intercourse. 


VII 

THE  USE  OF  PICTURES  IN  THE  SCHOOLROOM1 

In  the  modern  schoolroom  of  the  progressive  type, 
pictures  are  among  the  most  valued  possessions.  First 
of  all,  from  the  viewpoint  of  mere  decoration,  they 
add  immeasurably  to  the  attractiveness  of  the  child's 
environment.  Artistically  considered  their  chief  func- 
tion is  to  minister  to  the  sense  of  beauty,  to  create 
an  atmosphere  of  culture,  and  to  develop  the  taste  for 
good  art.  This  is  indeed  enough  to  ask  of  pictures. 
For  purely  artistic  reasons,  every  school  in  the  land, 
like  every  home,  should  be  beautified  with  genuine 
works  of  art.  But  the  latter-day  teacher  makes  pic- 
tures serve  many  purposes  besides  their  original 
aesthetic  end,  using  them  in  a  multitude  of  ways  to 
enrich  the  course  of  study.  Even  these  secondary 
uses  have  an  indirect  artistic  value,  for  any  method 
is  praiseworthy  which  arouses  a  child's  interest  in 
good  art.  The  work  of  the  school  grades  begins  with 
stocking  the  child's  mind  with  certain  fundamental 
concepts:  ideas  of  animals,  flowers,  fruit,  and  the 
various  phenomena  of  nature;  ideas  of  the  family: 

1  In  many  of  our  large  dtiei  there  are  societies  to  further  artistic  inter- 
ests in  the  schools;  The  School  Art  League  of  New  York;  tin-  Ch 
Publie  School  Art  Society  ;  the  Buffalo  School  Art  Association  ;  and  similar 
organisations  in  Columbus,  Ohio;  Kvanston.  Illinois;  Houston.  Texas; 
Washington.  D.C.  ;  and  Worcester,  Massachusetts.  A  great  work  has 
aU<>  been  done  l>y  many  women's  clubs  and  High  School  Alumni  as- 
sociations in  furnishing  pictures  for  schoolroom  decoration. 


66      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

the  relations  of  parents,  brothers,  and  sisters;  ideas 
of  home  life  and  occupations;  ideas  of  the  world's 
work,  in  the  field  and  factory,  on  land  and  sea;  ideas 
of  the  child's  own  interests,  activities,  and  plays. 
What  a  storehouse  of  pictures  is  at  the  primary 
teacher's  command  to  impress  all  these  lessons  upon 
the  pupil's  mind.  If  large  pictures  are  not  to  be  had, 
small  prints  are  almost  always  available;  if  expensive 
prints  cannot  be  afforded,  the  newspapers  and  adver- 
tisements come  to  our  aid. 

As  to  the  variety  of  animal  pictures  to  be  had,  I 
speak  at  length  in  a  special  chapter.  We  have  dogs 
and  deer  by  Landseer  and  Rosa  Bonheur;  lions  by 
Barye,  Bonheur,  and  Rubens;  horses  by  Bonheur, 
Dagnan-Bouveret,  and  many  others;  cows  by 
Troy  on  and  Van  Marcke;  sheep  by  Mauve;  foxes  by 
Liljfors  and  Winslow  Homer.  Let  me  urge  again  the 
importance  of  choosing  really  good  animal  art,  pic- 
tures of  animals  which  are  alive,  not  stuffed;  animals 
which  show  their  real  nature,  not  the  caricatured  half- 
human  type. 

In  bringing  out  the  happiness  of  family  love  all 
teachers  find  the  Madonna  pictures  the  most  satis- 
factory expression  of  motherly  tenderness.  The 
strong  maternal  element  in  Raphael's  Chair  Madonna 
makes  it  a  prime  favorite,  and  Dagnan-Bouveret's 
Madonna  of  the  Arbor  is  another  making  the  same 
sort  of  appeal.  Beautiful  portraits  of  mother  and 
child  are  Madame  Le  Brun  and  her  Daughter,  Rom- 
ney's  Mrs.  Cawardine  and  Babe,  and  many  examples 
by  Reynolds,  like  the  Duchess  of  Devonshire  and  her 


USE  OF  PICTURES  IN  THE  SCHOOLROOM      07 

Baby;  Lady  Spencer  and  Boy;  Mrs.  Payne-Gallway, 
and  so  on  through  a  long  list.  Meyer  von  Bremen's 
Little  Brother  shows  two  children  eagerly  gazing  on 
the  newborn  baby  in  the  arms  of  the  mother.  Millet's 
First  Step  brings  in  the  whole  family,  the  mother 
supporting  the  baby  toddler  as  he  starts  on  his  jour- 
ney across  the  yard  to  the  outstretched  arms  of  his 
kneeling  father.  Bouguereau's  Sister  and  Brother  is 
used  to  show  how  the  older  child  becomes  a  little 
mother  to  the  younger,  and  Rubens's  Two  Sons 
charmingly  illustrates  brotherly  love. 

To  illustrate  farm  labor  Millet  and  Breton  furnish 
many  subjects,  from  the  sowing  of  the  seed  to  the 
gleaning  of  the  harvest.  The  spirit  of  play  —  simple 
gayety  of  heart  —  is  delightfully  illustrated  in  such 
subjects  as  Chase's  Alice,  Israels's  Boys  with  a  Boat 
and  Murillo's  Beggar  Boys.  How  all  these  pictures 
may  be  used  for  story-telling  and  for  the  game  of  pic- 
ture-posing I  explain  in  separate  chapters.  The 
teacher  may  also  have  ways  of  her  own  for  pointing 
out  the  lessons  she  wishes  to  inculcate. 

The  use  of  pictures  in  language  work  runs  through 
all  the  school  grades.  The  picture  furnishes  some- 
thing to  talk  about  or  write  about.  It  stimulates 
observation,  starts  up  the  thinking  apparatus,  and 
arouses  the  imagination.  Among  younger  children 
teachers  usually  prefer  story  pictures,  that  is,  illus- 
trative or  anecdotic  compositions  embodying  a  more 
or  less  dramatic  situation.  The  pupil  is  drawn  out 
by  a  series  of  questions:  "When  did  the  action  take 
place,  that  is,  at  what  time  of  the  day  or  season  of  the 


68      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

year?"  "Where  does  the  action  take  place,  indoors 
or  out,  in  city  or  country,  and  in  what  land? "  "Who 
are  the  actors?  and  what  are  they  doing?"  This 
process  is  called  picture-reading,  and  forms  the  basis 
of  the  pupil's  story  composition.  The  method  is  one 
which  easily  lends  itself  to  exaggeration,  if  we  go 
beyond  the  limits  of  these  questions.  It  is  best  to 
keep  our  "reading"  to  just  what  is  really  written  in 
the  picture,  merely  getting  out  of  it  the  meaning  the 
artist  put  into  it  for  our  pleasure.  When  we  build 
upon  this  foundation  a  long  imaginary  tale  about  the 
persons  of  the  picture,  the  process  is  apt  to  lead  far 
afield  from  the  proper  use  of  pictures.  The  sharp 
distinction  which  is  made  in  language  work  between 
description  and  narration  applies  equally  to  pic- 
tures. Sully's  Torn  Hat,  for  instance,  or  Manet's 
Boy  with  the  Sword,  is  a  subject  for  description,  while 
Blommers's  Shrimp  Fishers  or  Kaulbach's  Pied 
Piper  is  really  a  story  picture.  A  story  picture  may 
be  treated  in  either  way,  descriptively  or  dramati- 
cally, but  the  non-story  picture  is  less  flexible,  and 
should  be  merely  described.  A  landscape,  for  in- 
stance, is  not,  properly  speaking,  a  story  picture,  and 
in  language  work  should  be  reserved  for  pure  nature 
description.  The  chapters  on  "Animals,"  "Chil- 
dren's Pictures,"  and  "Story  Pictures"  will  suggest 
abundant  material  to  the  language  teacher.  The 
writer  of  a  composition  based  upon  a  picture  is  bound 
to  scrutinize  the  subject  until  every  detail  is  stamped 
on  the  memory,  and  thus  the  child's  art  repertory  is 
enlarged. 


USE  OF  PICTURES  IN  TIIK  SCHOOLROOM      69 

The  uses  of  pictures  in  the  study  of  literature  are 
manifold.  It  is  a  long  standing  custom  for  teachers  to 
familiarize  their  pupils  with  the  portraits  of  the  poets 
whose  works  they  are  taught  to  love.  The  benign 
countenance  of  Longfellow  and  the  prophet-like  head 
of  Tennyson  look  down  from  many  schoolroom  walls. 
For  nineteenth-century  writers  it  is  customary  to 
use  the  accredited  photographic  portraits.  For  the 
celebrities  of  the  older  centuries  we  have  many  ideal 
heads.  Raphael's  two  great  frescoes  in  the  Hall  of 
the  Segnatura  (Vatican)  called  Parnassus  and  the 
School  of  Athens,  contain  some  fine  figures  of  the 
poets  and  philosophers  of  antiquity:  Homer,  Dante, 
Virgil,  and  Ovid,  Socrates,  Plato,  Aristotle,  etc.  I 
always  find  high-school  pupils  greatly  interested  in 
these  pictures,  though  I  do  not  recall  seeing  them  in 
any  school  hall  or  catalogue. v  Two  modern  pictures 
giving  vivid  interest  to  the  life  story  of  the  poets 
represented  are  Munkacsy's  Milton  dictating  Para- 
dise Lost  and  Dicksee's  Swift  and  Stella. 

A  few  illustrations  of  famous  poems  are  specially 
adapted  to  schoolroom  decoration,  for  the  benefit 
of  the  literature  classes.  Such  are:  Hiawatha  a-  a 
boy,  by  Elizabeth  Xorris;  Walker's  four  lunettes  in 
the  Congressional  Library  illustrating  the  Boy  of 
Winander  Wordsworth's  Prelude),  Adonis  (Shelley), 
Endymion  K«-;iK  ,  and  Comus  (Milton);  Landseer's 
Twa  Dogs,  t(.  illustrate  Burns's  poem;  Kaulbach's 

1  Since  thi"  was  written  I  have  seen  with  grr.it  pleasure  a  beau- 
tiful Anindd  print  of  the  PfcrnaMlM  in  the  W'altham  (Man.)  High 
School . 


70      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Pied  Piper,  for  Browning's  poem;  Boughton's  John 
Alden  and  Priscilla,  for  Miles  Standish;  Stothard's 
Canterbury  Pilgrims  for  Chaucer's  Prologue.  For 
older  classes,  Rossetti's  Dream  of  Dante,  illustrating 
a  passage  in  the  Vita  Nuova;  the  same  painter's 
Blessed  Damosel,  illustrating  his  own  poem,  and 
Alexander's  Pot  of  Basil,  for  Keats's  poem,  may  be 
used,  the  languorous  type  of  beauty  in  the  pictures 
corresponding  to  the  character  of  the  verse.  Two 
pictures  illustrating  the  moment  of  Dante's  first 
seeing  Beatrice  are  by  Ary  Scheffer,  and  Holiday. 
On  the  whole,  the  world's  great  poetry  has  not  been 
and  indeed  cannot  be  adequately  illustrated.  The 
pictures  which  a  teacher  can  best  use  in  literature 
study  are  those  illuminating  in  a  general  way  the 
subject  treated.  For  instance,  in  studying  the  origin 
of  the  drama,  a  flood  of  light  is  thrown  on  the  old 
Mysteries  and  Miracle  Plays  by  the  works  of  the 
contemporary  Italian  painters.  The  story  of  the 
Nativity  and  of  the  Saviour's  Passion,  first  arranged 
in  scenes  in  the  cathedral  and  later  acted  in  the 
public  squares,  was  staged,  so  to  speak,  just  as  in 
the  pictures  by  Giotto  and  Duccio.  Later  painters 
still  adhered  to  the  same  traditions  and  a  Nativity 
by  Pinturicchio  or  Luini  or  the  Crucifixion  in  the 
Spanish  Chapel,  Florence,  would  be  excellent  illus- 
trative material  of  this  kind.  Tennyson's  Idyls  of  the 
King  are  illuminated,  but  not  directly  illustrated,  by 
Abbey's  decorations  in  the  Boston  Public  Library, 
which  follow  the  Morte  a" Arthur  more  closely  than 
the  poet.   The  statue  of  King  Arthur  from  Charie- 


TSE  OF  riCTTRES  IN   THE  SCHOOLROOM      71 

magne'a  tomb  at  Innsbruck  fairly  puts  Tennyson's 
hero  before  us.  Watts's  Sir  Galahad  is  a  figure  well 
liked  in  the  schools.  Any  pictures  embodying  the 
spirit  of  chivalry  throws  light  on  the  Idyls.  I  cannot 
think  of  anything  better  than  Millais's  noble  work, 
Sir  Isumbras  at  the  Ford,  where  the  gentle  old  knight 
carries  the  two  children  safely  across  the  stream.  A 
modern  series  of  pictures  by  Blair  Leighton  gives  the 
four  stages  of  knighthood:  The  Vox  Populi,  or  Accla- 
mation; the  Dedication;  the  Accolade;  the  Godspeed. 
Pupils  studying  Shakespeare  should  be  encouraged 
to  collect  pictorial  Shakespeariana,  a  pursuit  which 
may  become  so  engrossing  that  they  will  follow  it  all 
their  lives.  The  making  of  the  Shakespeare  scrap- 
book  will  work  both  ways,  to  fix  the  characters  and 
plots  in  the  memory,  and  cultivate  artistic  discrimi- 
nation. The  material  consists,  first  of  all,  of  course, 
of  all  the  portraits  one  can  find  of  the  dramatist  him- 
self, as  well  as  views  of  Stratford-on-Avon.  Por- 
traits of  great  Shakespearian  actors  are  also  of  prime 
importance,  and  such  a  search  offers  endless  possibili- 
ties. The  list  extends  from  the  famous  English  trage- 
dienne, Mrs.  Siddons,  whom  Reynolds  portrayed  so 
Superbly  as  the  Tragic  Muse,  to  the  stars  of  our  own 
generation,  whom  latter-day  photography  has  repre- 
sented in  every  pose  and  costume.  There  are  besides 
many  ideal  pictures  of  Shakespearian  characters 
from  Reynolds's  Puck  to  Millais's  Portia.  Ideal  illus- 
trations of  Shakespearian  scenes  are  not  so  easy  to 
find,  but  should  be  added  when  possible.  Abbey's 
series  are  of  this  class.   The  extra-illustrat-.l  Shakes- 


72      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

peare  is  a  glorified  form  of  Shakespearian  collection, 
bringing  text  and  illustration  together  —  a  scrapbook 
de  luxe.  One  begins  by  laying  in  loose  pictures  here 
and  there  in  a  volume  until  the  binding  breaks  with 
the  strain.  Then  the  book  is  taken  to  pieces,  the 
pages  interleaved  with  illustrations,  and  the  whole 
collection  rebound.  It  is  a  worthy  ambition  to  stimu- 
late in  young  people  to  be  possessed  of  an  entire  set 
of  single-play  volumes,  each  one  the  basis  of  a  picture 
collection. 

Connecting  equally  well  with  work  in  literature  or 
history  is  the  general  subject  of  the  evolution  of  book- 
making.  Alexander's  series  of  six  lunettes  in  the 
Congressional  Library  illustrate  this  theme  with 
remarkable  success.  Mounted  in  a  single  frame  this 
row  of  photographs  (or  colored  reproductions)  is  in 
high  favor  in  schools.  There  are  other  pictures,  too, 
of  correlated  interest  showing  the  book  customs  of 
those  far-away  times  before  the  printing-press.  Old 
pictures  of  St.  Augustine  in  his  cell  poring  over  his 
books,  or  of  St.  Jerome  translating  the  Bible,  give  an 
idea  of  the  library  accessories  in  the  time  of  the 
painters,  Botticelli,  Ghirlandajo,  Bellini,  or  whoever 
it  happened  to  be.  A  very  pretty  subject  by  Cabanel, 
called  The  Florentine  Poet,  is  a  garden  scene  of 
Renaissance  Florence  where  a  wandering  story-teller 
relates  to  a  group  of  young  listeners  a  tale  of  love  and 
adventure.  Alma  Tadema's  Reading  from  Homer  car- 
ries a  similar  subject  into  still  more  ancient  times. 

The  domain  of  classic  mythology  is  contiguous  both 
to  literature  and  to  history.    It  is  a  fairyland  of 


(BE  OF  PICTURES  TS  TIIE  SCHOOLROOM      73 

dreams  and  visions  beloved  by  children  of  every  age. 
Not  all  the  subjects  lend  themselves  to  art,  but  some 
have  been  beautifully  illustrated,  and  such  works  are 
of  immense  interest  in  the  schoolroom.  The  teach- 
ers of  Greek  and  Latin  need  them  as  much  as  the 
teachers  of  literature  and  history.  One  must  make 
the  selections  carefully,  avoiding  a  certain  line  of 
subjects,  like  the  amorous  adventures  of  the  gods, 
which  are  quite  unsuited  for  use.  It  is  through 
antique  marbles  that  we  get  our  highest  conception 
of  Greek  divinities.  The  great  sculpture  museums  of 
the  Old  World  contain  noble  statues  of  Zeus  (Jupiter), 
the  sky  father;  and  Hera  (Juno),  his  spouse;  of 
Athena  (Minerva),  the  Queen  of  the  Air;  and  Aphro- 
dite (Venus),  the  beautiful;  of  Ceres,  the  mother  of 
the  race;  of  Apollo  and  Diana,  rulers  of  sun  and  moon; 
of  Hermes  (Mercury),  the  messenger  of  the  gods;  and 
all  the  rest.  Like  the  portraits  of  sovereigns,  as  a 
background  of  history,  these  sculptured  figures  form 
the  background  of  our  mythological  lore,  and  should 
be  made  familiar  to  school  children  of  higher  grades 
either  in  plaster  reproductions  or  in  photographs  of 
the  originals.  A  few  modern  representations  may  be 
added  to  our  collection  of  antiques,  like  Bologna's 
Flying  Mercury  and  Vedder's  Minerva. 

Our  list  of  pictures  naturally  begins  with  that  uni- 
versal favorite,  Guido  Reni's  Aurora,  representing 
the  sun  god  driving  his  horses  across  the  sky.  Another 
good  picture  <>f  the  same  subject  is  by  Guercino.  An 
appropriate  rompanion  picture  is  Corregirii>\  Diana, 
the  moon  goddess,  setting  forth  for  the  chase  in  a 


74      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

chariot  drawn  by  a  stag.  The  fluttering  veil  and 
wind-blown  hair  and  garments  give  an  effect  of  breezy 
motion  to  the  picture.  A  quiver  full  of  arrows  is 
slung  across  her  shoulder,  with  the  bow.  The  cres- 
cent moon  gleams  above  her  forehead.  A  charming 
picture  of  the  same  goddess  sporting  with  her  nymphs 
in  a  smiling  landscape  is  by  Domenichino,  in  the  Bor- 
ghese  Villa,  Rome.  The  fair  shepherd  Endymion,  with 
whom  Diana  fell  in  love  as  he  lay  asleep  among  his 
flocks,  is  also  treated  in  art.  There  is  a  little  circular 
panel  by  the  old  Venetian  painter  Cima,  in  the  Parma 
Gallery,  and  a  lunette  by  Walker  in  the  Congressional 
Library,  both  showing  the  youth  asleep.  As  Diana 
is  attended  by  nymphs,  so  Apollo,  as  patron  of  the 
arts,  is  surrounded  by  the  nine  muses.  Thus  we  see 
them  all  circling  around  in  a  rhythmic  dance  in  the 
picture  by  Giulio  Romano,  in  the  Pitti,  Florence. 
Another  picture  of  these  figures  may  be  had  by  isolat- 
ing the  central  group  in  Raphael's  famous  fresco  of 
Parnassus.  Apollo's  pursuit  of  Daphne  is  a  subject 
painted  by  Giorgione  (Seminario,  Venice),  but  the 
figures  are  rather  inconspicuous  in  a  landscape.  A 
graceful  group  by  the  late  Italian  sculptor  Bernini  is 
in  the  Borghese,  at  Rome. 

The  Marriage  of  Bacchus  and  Ariadne  is  not  an 
especially  important  incident  in  mythology,  but  it 
happens  to  be  the  subject  of  one  of  the  finest  works 
of  the  Venetian  Renaissance.  The  picture  is  by 
Tintoretto,  in  the  Venice  Academy.  Venus  hovering 
in  the  air  joins  the  hands  of  the  lovers  and  marries 
them  with  a  ring.  Grace  and  poetry  of  motion,  flow 


.:-':..:■     .  .  :  :  • 


J  I. 'j  .\o  If*  4  S»,  So* 


DIANA 

rr///  <?/"  S.  Pa  <lo,  Parma 


USE  OF  PICTURES  IN  THE  SCHOOLROOM      75 

of  line,  beauty  of  modeling,  and  harmony  of  color 
could  hardly  go  farther,  and  the  pure  joy  of  living, 
which  is  the  essence  of  the  Greek  spirit,  is  perfectly 
expressed  here.  Titian's  Bacchus  and  Ariadne  in  the 
National  Gallery,  is  also  a  celebrated  and  beautiful 
picture,  showing  the  young  god  leaping  from  his 
chariot  drawn  by  leopards,  as  he  first  sees  Ariadne. 
Watts's  Ariadne  in  Naxos  (Metropolitan  Museum)  is 
a  noble  picture  full  of  dignity  and  expression.  The 
Birth  of  Venus  from  the  Sea  is  a  subject  too  often 
emphasized  on  the  sensuous  side,  but  Botticelli's 
famous  and  beautiful  picture  (Florence  Academy) 
expresses  the  essential  poetry  of  the  myth.  The  god- 
dess floats  on  a  seashell  towards  the  shore  where  she 
is  welcomed  by  the  Graces. 

A  mythical  hero  endeared  to  us  in  Hawthorne's 
Wonder  Book  is  the  gallant  Perseus,  who  set  forth  to 
secure  the  -Medusa's  head  and  ended  by  the  rescue  of 
Andromeda.  He  was  equipped  for  the  adventure,  as 
we  all  remember,  by  the  sandals  of  Hermes  and  the 
helmet  and  shield  of  Athena.  Burne-Jones  has  illus- 
trated the  whole  tale  in  a  series  of  five  pictures,  of 
which  the  best  subject  for  school  is  the  hero  receiving 
the  precious  gifts  from  the  sea  maidens.  The  bronze 
statue  by  Cellini,  which  is  one  of  the  sights  of  Flor- 
ence in  the  Loggia  dei  Lanzi,  shows  the  victor  stand- 
ing on  the  body  of  Medusa  holding  aloft  his  gruesome 
trophy,  the  head  with  the  snaky  locks.  Canova,  in  a 
later  century,  repeated  the  same  subject  in  a  more 
elegant  but  less  vigorous  figure  in  marble.  The  Res- 
cue of  Andromeda  is  the  subject  of  a  fresco  by  Guido 


76      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Reni,  in  the  Farnesina  at  Rome,  not  a  great  work, 
but  an  excellent  illustration.  Old  Cosimo  Roselli 
made  the  story  the  subject  of  some  quaint  and 
delightful  panels  in  the  Pitti  Gallery,  Florence.  The 
monster  dragging  his  long  body  towards  the  fainting 
maiden  is  like  Carpaccio's  dragon  in  the  ol:ory  of 
St.  George,  a  creature  to  produce  delicious  thrills  of 
horror  and  amusement. 

The  tale  of  Europa's  elopement  on  the  back  of  the 
bull  is  one  we  might  not  be  keen  about  but  for  its 
beautiful  rendering  in  Venetian  art.  Veronese's  opu- 
lent picture  in  the  decorations  of  the  Doge's  Palace 
is  one  to  remember,  and  the  fine  work  of  Titian, 
admired  by  Rubens,  is  one  of  the  chief  treasures  of 
Fenway  Court,  Boston.  Other  mythological  pictures 
in  which  young  people  will  find  pleasure  and  profit 
are  Curzon's  Psyche,  bringing  from  Hades  the  casket 
of  beauty  to  Venus,  passing  with  bated  breath  the 
three-headed  Cerberus  (Louvre) ;  Regnault's  Autom- 
edon  with  the  Horses  of  Achilles;  Watts's  Orpheus 
and  Eurydice,  full  of  tragic  feeling;  Atalanta's  Race, 
by  Poynter,  showing  the  fleet-footed  maiden  stooping 
as  she  runs  to  catch  up  the  fatal  ball;  and  Titian's 
Three  Graces.  The  Three  Fates  have  been  treated 
by  several  painters,  and  one  can  choose  between  the 
attractive  modern  pictures  by  Simmons  and  Thu- 
mann,  or,  if  preferred,  take  the  old  Italian  work  once 
attributed  to  Michelangelo,  representing  the  weird 
sisters  as  rather  fearsome  old  women.  Of  kindred 
interest  are  the  sibyls,  so  often  referred  to  in  classic 
literature   and   mythology.     Among   the   series   by 


A    r.  »:•  .  Vb   :•. 


I  ill    DELPHIC  SIBYL 

ha  pel,  ;     ■ 


DSE  OF  PICTURES  IN  THE  SCHOOLROOM      77 

Michelangelo  on  the  Sistine  Chape]  ceiling  two  figures 
are  of  special  interest  in  the  schoolroom,  the  Delphic 
and  the  Cunuean.  The  Delphic  Sibyl  presided  over 
the  temple  of  Apollo  in  Delphi,  as  a  sort  of  priestess. 
Here  the  people  came  to  consult  her  and  she  delivered 
the  message,  or  oracle,  communicated  to  her  by  the 
god.  The  Cumsean  Sibyl  lived  in  a  great  cave  at 
Cuma?,  where,  according  to  Virgil,  iEneas  came  to  en- 
list her  aid  to  visit  his  dead  father.  At  Wellesley 
College  is  a  large  painting  by  Elihu  Vedder,  often 
reproduced,  showing  the  Cumaean  Sibyl  stalking 
across  the  desert,  a  fierce  old  creature,  carrying  her 
precious  oracles  to  the  Roman  Emperor  Tarquin. 

The  purely  classical  spirit  has  never  been  more  ad- 
mirably expressed  than  in  the  works  of  the  late  Sir 
Frederick  Leighton.  Herakles  wrestling  with  death 
for  the  body  of  Alkestis  and  the  Captive  Andromache 
at  the  fountain  are  among  the  few  subjects  commonly 
reproduced.  When  one  reads  the  long  list  of  classic 
subjects  the  painter  treated,  it  seems  much  to  be 
desired  that  such  treasures  should  be  known  to  us  all. 
Some  of  the  Homeric  stories  centering  in  Ulysses 
have  sometimes  been  illustrated.  By  Guido  Reni,  in 
the  Naples  Museum,  is  Ulysses  with  Nausicaa  and 
her  Maidens;  and  by  Pinturicehio,  in  the  National 
Gallery,  the  Return  of  Ulysses  to  Penelope. 

The  history  teacher,  more  than  any  other,  perhaps, 
needs  pictures.  First  of  all  she  wants  plenty  of  por- 
traits as  a  background  for  the  story  of  the  nations. 
Unfortunately  it  is  impossible  to  collect  a  series  of 
uniform  merit,  and  in  trying  to  fill  the  gaps,  there  is 


78      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

danger  of  mixing  indiscriminately  the  good  and  the 
inferior.  The  following  list  of  really  fine  works  may 
be  helpful:  antique  statue  of  the  Emperor  Augustus 
(Vatican,  Rome);  antique  equestrian  statue  of  the 
Emperor  Marcus  Aurelius  (Capitol,  Rome) ;  Vischer's 
statue  of  King  Arthur,  from  Charlemagne's  tomb; 
Saint-Gaudens's  statue  of  Lincoln,  and  the  equestrian 
group  of  General  Sherman  led  by  Victory;  Stuart's 
heads  of  George  and  Martha  Washington;  Sebastian 
del  Piombo's  Columbus,  in  the  Metropolitan  Mu- 
seum; Titian's  Francis  I,  Charles  V,  and  Philip  II; 
Velasquez's  Philip  IV  and  the  young  princes  and 
princesses  of  his  court;  Goya's  Charles  IV  of  Spain; 
Henry  VIII,  from  copies  of  Holbein's  portraits,  and 
Holbein's  drawings  of  the  statesmen  of  his  court; 
Durer's  Maximilian;  Antonio  Moro's  Queen  Mary; 
Clouet's  Elizabeth  of  Austria;  Van  Dyck's  Charles  I, 
Queen  Henrietta  Maria,  many  of  their  courtiers  and 
statesmen,  besides  the  young  princes  and  princesses  of 
the  family;  Sir  Peter  Lely's  Charles  II;  Richter's 
Queen  Louise  (ideal) ;  Rigaud's  Louis  XIV;  Greuze's 
Louis  XVI,  and  the  Dauphin  (son  of  Louis  XII  and 
Marie  Antoinette),  and  Napoleon;  Drouais's  Les 
Enfants  de  France  (Charles  and  Marie  Adelaide,  in 
the  Louvre);  Madame  Le  Brun's  Marie  Antoinette 
alone,  and  the  same  queen  with  her  children,  both 
pictures  at  Versailles;  Lenbach's  Bismarck.  The 
pupil  who  gets  an  insight  into  a  historical  character 
by  means  of  a  fine  portrait  has  gained  something 
towards  understanding  the  meaning  of  portrait  art. 
|  In  the  study  of  ancient  history  there  is  very  great 


USE  OF  PICTURES  IN  THE  SCHOOLROOM       79 

need  of  a  class  of  pictures  which  reconstruct  the  past, 
so  to  speak,  and  do  this  with  trustworthy  accuracy. 
An  enthusiastic  teacher  once  said  to  me  plaintively: 
"After  I  have  given  my  classes  a  glowing  account  of 
the  glories  of  Rome,  all  I  can  show  them  is  ruins!" 
It  is  surely  too  much  to  ask  of  the  ordinary  pupil  to 
transform  a  collection  of  pillars  and  stones  into  the 
Roman  Forum  as  it  looked  to  Cicero.  While  a  few 
architectural  views  are  desirable,  it  is  wiser  not  to 
multiply  them,  and  especially  not  to  choose  those 
which  are  mere  heaps  of  stones.  Maccari's  series  of 
subjects,  from  the  decorations  of  the  present  Roman 
Senate  Chamber,  is  very  useful;  particularly  those 
representing  Cicero's  Oration  against  Catiline  and 
Claudius  entering  the  Senate.  Piloty's  Triumph  of 
Germanicus  is  a  picture  I  have  seen  worked  as  a 
mine  of  historical  information  by  a  veteran  history 
teacher.  By  the  same  painter  is  an  interesting  pic- 
ture of  The  Last  Moments  of  Julius  Caesar.  Wag- 
ner's Chariot  Race,  Vernet's  Roman  Triumph,  and 
Leroux's  School  of  Vestals  are  all  good  reconstruc- 
tions. Salvator  Rosa's  Conspiracy  of  Catiline  and 
David's  Oath  of  the  Horatii  (both  in  the  Louvre)  are 
standard  works  of  the  old  school  of  classical  painting. 
Two  pictures  by  Gabriel  Max,  The  Last  Token  and 
The  Lion's  Bride,  illustrate  the  tragedies  of  the  Ro- 
man persecutions  of  Christians. 

In  French  history  the  most  richly  illustrated  sub- 
ject is  the  career  of  Napoleon.  This  suggests  an  excel- 
lent opportunity  to  a  class  to  make  collections  or 
scrapbooks  of  pictorial  Napoleonic  material.    Files 


80      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

of  old  magazines  will  yield  many  contributions,  be- 
sides prints  and  photographs  to  be  had  from  art 
dealers.  I  have  seen  one  interesting  collection  of  this 
kind  in  which  I  noted  the  following  subjects:  Meis- 
sonier's  "1814";  Wilkie's  Napoleon  and  the  Pope  at 
Fontainebleau;  Statue  of  Napoleon,  by  Vela,  at  Ver- 
sailles; the  monument  at  Waterloo;  photograph  of  the 
palace  at  Fontainebleau;  photograph  of  the  throne 
at  Fontainebleau ;  photograph  of  Napoleon's  tomb  in 
Paris;  many  miscellaneous  portraits  of  Napoleon, 
Josephine,  and  Marie  Louise  from  magazine  articles. 
Jeanne  d'Arc  is  another  character  in  French  history 
whose  life  has  been  so  fully  illustrated  that  one  can 
make  charming  collections  of  artistic  material  in  this 
line.  A  friend  of  mine  has  such  a  scrapbook  of  many 
treasures.  It  contains,  of  course,  Bastien-Lepage's 
Vision  of  Joan  of  Arc  in  the  Metropolitan  Museum; 
Fremiet's  famous  statue,  the  ideal  figure  by  Ingres, 
and  Rossetti's  Jeanne  d'Arc  Kissing  the  Sword  of 
Charlemagne.  There  are  besides  some  subjects  from 
the  decorations  of  the  Pantheon:  Flandrin's  Joan  of 
Arc  in  prayer;  and  by  Lenepveu,  the  Martyrdom  of 
Jeanne  d'Arc  and  Jeanne  d'Arc  at  the  Coronation 
of  Charles  VII.  Others  are  Joan  of  Arc  taken  pris- 
oner by  Rowland  Wheelwright,  and  Joan  of  Arc  going 
into  Battle,  by  Lionel  Royer.  Boutet  de  Monvel's 
fascinating  child's  illustrated  Jeanne  d'Arc  is  un- 
happily out  of  print,  but  may  be  seen  in  large  libra- 
ries. Two  popular  pictures  connected  with  French 
history  are  the  Charlotte  Corday  of  the  Corcoran 
Gallery  and  Millais's  Huguenot  Lovers. 


USE  OF  PICTURES  IN  THE  SCHOOLROOM        81 

In  the  study  of  English  history  the  teacher  finds 
rich  illustrative  material  in  the  noble  old  buildings  of 
England,  —  cathedrals,  abbeys,  and  castles,  —  about 
which  cluster  the  memories  of  so  many  epoch-making 
events.  These  views,  together  with  the  countless 
number  of  historical  portraits  from  the  English 
portrait  painters,  make  a  far  better  showing  than  the 
rather  scarce  and  inferior  anecdotic  paintings  of 
English  historical  events.  In  recent  years  an  ad- 
mirable contribution  to  English  historical  art  for 
school  use  is  the  series  issued  by  Longmans.  There  is 
one  set  of  pictures  in  black  and  white,  and  another  in 
color  designed  by  H.  J.  Ford,  intended  for  wall  deco- 
rations. These  are  in  use  in  the  library  and  schools  of 
Brookline,  Massachusetts. 

In  our  zeal  for  illustrating  the  history  of  our  own 
nation,  a  good  many  pictures  are  often  collected 
which  have  little  or  no  artistic  merit.  The  following 
list  of  subjects  can  be  recommended  to  teachers:  — 

The  Recall  of  Columbus,  by  George  Augustus  Heaton 
(Capitol,  Washington). 

Columbus  at  the  Court  of  Ferdinand  and  Isabella,  by 
Vacalav  von  Brozik  (in  the  Metropolitan  Museum). 

George  H.  Boughton's  many  colonial  subjects,  including 
Pilgrim  Exiles,  Pilgrims  Going  to  Church,  the  Return  of 
the  Mayflower. 

French's  statue  of  the  Minute  Man  at  Concord,  Massa- 
chusetts. 

Washington  and  Lafayette  at  Mount  Vernon  (Rossiter). 

Trumbull's  Signing  of  the  Declaration  of  Independence. 

Abbey's  Reading  of  the  Declaration  of  Independence,  in 
the  Capitol  at  Harrisburg,  Pennsylvania. 

Dallin's  series  of  Indian  equestrian  subjects,  the  best,  per- 


82      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

haps,  being  the  Appeal  to  the  Great  Spirit.   Others  are 
the  Signal  of  Peace;  the  Protest;  the  Medicine  Man;  an 
Indian  Hunter. 
Moran's  series  of  historical  marine  subjects,  about  a  dozen 
in  number,  in  the  Smithsonian  Institution,  Washington. 

Certain  local  historical  subjects  are  being  used  by 
contemporary  mural  painters  with  good  effect  in  the 
decoration  of  American  public  buildings.  Such,  for 
instance,  is  F.  D.  Millet's  Treaty  with  the  Indians, 
in  the  Capitol  at  St.  Paul,  Minnesota,  and  such  the 
Edict  of  Lord  Baltimore,  by  E.  H.  Blashfield,  in  the 
Baltimore  Court-House. 

It  is  in  view  of  so  many  lesson  uses  of  pictures  that 
our  schools  have  multiplied  the  prints  on  the  walls  in 
the  last  years,  greatly  beautifying  the  rooms.  Edu- 
cators and  dealers  have  prepared  carefully  graded 
lists  of  subjects  corresponding  to  the  school  grades. 
These  are  helpful  and  suggestive,  but  by  no  means 
final.  No  two  schools,  and  no  two  homes,  should 
be  decorated  alike.  Mechanical  monotony  is  to  be 
avoided.  There  is  danger,  too,  of  letting  the  utili- 
tarian view  of  art  take  precedence  of  the  prime  value 
of  pictures  as  pure  decoration  and  pure  joy.  The 
educator  must  be  careful  not  to  let  the  instructive 
element  outweigh  the  aesthetic. 

The  wall  pictures  are  only  a  part  of  the  school 
picture  equipment.  The  enterprising  teacher  makes 
portfolio  collections  on  her  own  account,  and  en- 
courages the  pupils  to  collect  prints  in  such  ways  as  I 
have  indicated.  The  stereopticon,  the  reflectoscope, 
or  the  radiopticon  are  also  in  wide  use  in  school  lee- 


USE  OF  PICTURES  IN  THE  SCHOOLROOM       83 

ture  work.  The  teacher  who  has  once  caught  the  en- 
thusia.Mii  for  pictorial  lesson  helps  will  leave  no  stone 
unturned  to  add  to  the  repertory. 

Reference  Books:  — 

Severance  Bubbage  and  Henry  T.  Bailey.  School 
Sanitation  and  Decoration  (second  part  ). 

M.  S.  Emery.  How  i»  Enjoy  Pictures.  Chapter  on  "  Pic- 
tures in  the  Schoolroom"  (by  Stella  Skinner). 

"Art  Museums  and  Schools"  ;  Four  Lectures  delivered 
at  the  Metropolitan  Museum  of  Art. 

Report  of  the  Committee  on  Instruction  by  Means  of 
Pictures.  Boston  Public  Schools,  School  Docu- 
ment Xo.  G,  1913.  Valuable  list  of  stereopticon 
slides  illustrating  the  scenery,  architecture,  and 
industries  of  many  lands,  to  connect  with  Lessons  in 
geography,  history,  and  science. 


VIII 


ANIMAL   PICTURES 


From  time  immemorial  children  have  loved  ani- 
mals, as  pets  and  playfellows,  as  toys,  as  heroes  of 
nursery  tales,  and  as  the  subject  of  pictures.  With- 
out trying  to  analyze  the  psychological  reasons,  we  all 
accept  the  fact.  When  other  resources  fail  in  amus- 
ing a  child,  we  are  always  glad  to  fall  back  on  this 
one  absolutely  sure  subject  of  interest.  In  the  school 
and  in  the  home,  animal  pictures  are  much  used  to 
combine  amusement  and  instruction.  The  teacher 
takes  them  to  illustrate  nature  lessons,  and  the  mo- 
ther finds  them  helpful  in  pointing  many  a  moral. 
One  cannot  begin  too  early  to  enlist  the  child's  sym- 
pathy with  the  brute  creation. 

What  constitutes  a  good  animal  picture?  Correct 
drawing,  certainly,  but  this  is  not  enough.  The  ani- 
mal must  seem  to  be  alive.  He  must  show,  too,  his 
distinguishing  characteristics.  We  know  by  his  looks 
what  manner  of  beast  he  is,  gentle  or  fierce,  sly, 
heavy  or  fleet-footed.  It  requires  no  mean  ability  to 
produce  a  real  work  of  animal  art.  It  means  a  faith- 
ful study  of  the  nature  and  habits  of  the  animal,  and 
a  special  aptitude  on  the  part  of  the  artist.  Two  com- 
mon faults  are  conspicuous  in  much  of  the  animal  art 
given  to  children.  One  is  stiffness,  or  lack  of  vitality : 


ANIMAL  PICTURES  85 

apparently  some  illustrators  do  all  their  work  from 
natural  history  collections.  The  other  is  the  human- 
izing of  the  animal  character.  This  quality  is  doubt- 
less the  logical  outcome  of  animal  folk-lore,  which 
attributes  human  sentiments  to  wild  creatures.  If 
we  are  zealous  for  good  art,  we  must  look  out  for 
these  faults  when  making  our  selections. 

In  the  childhood  of  the  race,  as  in  the  childhood  of 
the  individual,  animals  were  the  favorite  art  subject, 
as  we  see  in  the  ancient  sculpture  of  various  peoples. 
Centuries  before  the  age  of  painting,  the  figure  dec- 
orations of  temples  and  palaces  consisted  largely  of 
lions  and  horses.  Critics  still  visit  the  British  mu- 
seum to  marvel  at  the  lion  hunt  so  realistically  de- 
picted on  an  Assyrian  bas-relief,  and  the  noble  caval- 
cade of  horses  forming  the  frieze  of  the  Parthenon. 
The  best  modern  animal  painters  have  something  to 
learn  from  these.  The  painters  of  the  early  Christian 
centuries  had  very  little  idea  of  animal  art.  As  their 
subjects  were  chiefly  religious,  animals  were  mere 
accessories  to  them,  represented  with  childlike  crude- 
ness.  In  the  old  Nativity  scenes  the  ox  and  the  ass, 
standing  (or  kneeling)  beside  the  manger,  look  like 
the  wooden  toys  of  a  Noah's  ark,  and  the  horses  in 
the  procession  of  the  Magi,  or  in  the  Crucifixion 
scenes,  are  stiff  wooden  models  covered  with  gorgeous 
trapping.  Only  once  in  a  while  some  painter  with  a 
keener  eye  for  street  scenes  would  catch  a  child  with 
a  pet  dog  and  smuggle  him  into  the  corner  of  his  pic- 
ture. You  find  such  a  group  in  a  great  fresco  by  Bot- 
ticelli in  the  Sistine  Chapel,  and  another  in  Titian's 


86      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

famous  Presentation  of  the  Virgin,  as  well  as  in  his 
Ecce  Homo.  But  these  are  exceptions.  It  was  late 
in  the  history  of  painting  when  the  animal  came  into 
his  own,  when  the  perfection  of  technique  made  every 
branch  of  art  possible.  We  may  date  the  beginning 
of  modern  animal  art  from  the  seventeenth  century 
Dutch  school.  From  this  time  on,  the  most  mediocre 
artist  could  make  a  presentable  animal  picture.  But 
it  is  only  now  and  then  that  an  artist  has  attained 
high  distinction  in  the  subject.  There  is  perhaps  a 
general  idea  that  the  animal  world  is  not  quite  worthy 
the  entire  life  devotion  of  a  master,  but  a  few  have 
forcibly  refuted  this  error  and  their  work  reveals  un- 
dreamed-of possibilities  in  this  direction.  When  you 
put  the  lion  of  the  ten-cent  picture  book  beside  the 
lion  of  Barye,  you  see  the  difference  between  repre- 
senting the  outer  skin  and  the  real  leonine  nature.  One 
is  a  stuffed  museum  specimen,  and  the  other  is  the 
king  of  beasts. 

The  child's  first  animal  pictures  are  single  figures, 
as  are  his  first  pictures  of  children.  The  simple  ob- 
ject, without  accessories,  appeals  directly  to  him, 
and  is  most  easily  understood.  Of  course,  it  would 
be  impossible  to  make  a  complete  collection  of  sin- 
gle animal  figures  from  masterpieces  of  art,  but  one 
can  get  a  goodly  number  of  subjects  from  Landseer 
and  Rosa  Bonheur.  Landseer's  Newfoundland,  and 
the  head  My  Dog  are  good  examples.  Some  fine 
animal  heads  are  among  the  works  of  Rosa  Bon- 
heur, as  the  shepherd's  dog  of  the  Wallace  collection, 
the  mastiff,  Flambau,  and  the  companion  subjects 


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ANIMAL  PICTURES  87 

sometimes  called  "Peace"  and  "War,"  a  horse  and  a 
lion. 

The  child's  first  favorites  are  his  domestic  pets,  the 
dog,  the  cat,  and  the  bird.  Next  come  the  farm  ani- 
mals which  the  kindergarteners  describe  as  the  child's 
friends,  the  hens  which  give  him  eggs  to  eat,  and  the 
cow  which  gives  him  milk  to  drink,  the  sheep  which 
give  their  wool  for  his  clothes,  the  horse  which  carries 
him  to  and  fro,  and  the  oxen  which  draw  his  heavy 
burdens.  Then  come  the  creatures  of  the  woods,  the 
rabbits,  squirrels,  fox  and  deer,  the  beasts  of  the  jun- 
gle, the  lion  and  the  tiger,  the  strange  creatures  of 
polar  regions  and  the  mythical  monsters  of  old  poetry 
and  legend. 

All  children  are  delighted  with  pictures  of  children 
with  their  pets,  like  Hoecker's  little  Dutch  girl  with 
a  kitten,  who  has  won  so  many  child  friends.  Such  pic- 
tures are  not  strictly  animal  art,  but  often  their  chief 
charm  to  children  is  the  pet  —  the  first  thing  to  ex- 
claim over  as  they  fall  upon  the  picture  with  rapture. 
Many  portrait  painters  have  represented  their  ju- 
venile sitters  with  their  pets,  notably  Velasquez.  The 
Prince  Baltasar  Carlos  on  his  pony  illustrates  almost 
every  quality  we  desire  in  a  child's  picture  We  hardly 
know  which  is  more  charming,  the  sleek  little  ani- 
mal  with  his  plump  round  body  or  tlir  joyous  child 
astride  him.  The  same  young  prince  with  his  hunting 
dog  is  also  a  notable  work  in  the  Prado  Museum. 
There  is  tremendous  latent  power  in  that  big,  lazy- 
looking  creature  lying  beside  his  young  master.  Van 
Dyck  several  times  painted  his  Prince  Charles  with  a 


88      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

dog,  but  the  animal  is  rather  a  decorative  accessory 
than  a  live  and  interesting  creature.  Reynolds  treated 
the  child's  canine  friends  with  more  sympathy.  The 
spaniel  which  little  Miss  Bowles  holds  in  a  chok- 
ing embrace  captivates  us  with  his  bright  eyes,  while 
the  delightful  poodle  over  which  the  baby  Princess 
Sophia  creeps  divides  favor  with  his  young  mistress. 
A  lovely  subject  originated  by  Murillo  is  that  of  the 
child  St.  John  Baptist  with  a  lamb.  It  was  this  saint, 
as  will  be  remembered,  who  referred  to  the  Saviour 
as  the  "lamb  of  God,"  and  for  this  reason  it  became 
a  fixed  tradition  in  sacred  art  to  make  the  lamb  a  dis- 
tinguishing mark  of  the  saint.  The  idea  is  very  pretty 
when  used  as  Murillo  used  it  to  make  the  gentle  little 
creature  a  playmate  for  the  child.  There  are  at  least 
four  pictures  of  this  subject. 

The  child  passes  gradually  from  single  figures  of  an- 
imals, and  pictures  of  children  with  animal  pets,  to 
more  elaborate  compositions  showing  the  many-sided 
life  of  the  animal.  It  is  only  by  multiplying  examples 
that  one  can  understand  how  many  poses  an  animal 
can  assume,  or  what  variety  of  motions  he  is  capable 
of.  The  statuesque  pose  of  Landseer's  Newfound- 
land is  quite  a  different  thing  from  the  relaxed  figure 
of  the  Sleeping  Bloodhound.  A  majestic  monumen- 
tal lion  is  as  far  removed  as  possible  from  the  fierce 
writhing  and  struggling  beasts  of  Rubens's  mighty 
scenes  of  the  Lion  Hunt.  There  are  fifteen  of  these 
wonderful  pictures.  The  royal  dignity  of  Landseer's 
Monarch  of  the  Glen  is  in  striking  contrast  to  the 
tragic  agony  of  the  fallen  hero  in  the  Hunted  Stag 


V.  PI    t,. 


■ 


MISS    B    v.  I  I  - 


ANIMAL  PirTTTRES  89 

(National  Gallery),  while  Rosa  Bonheur's  beautiful 
Deer  in  the  Forest  (Metropolitan)  shows  the  grace- 
ful creatures  in  peaceful  home  surroundings.  The 
sleek,  high-bred  driving-horse  standing  at  the  forge 
in  Landseer's  picture  is  at  opposite  poles  to  Dagnan- 
Bouveret's  strong,  rough  cart-horses  at  the  watering- 
trough.  These  quieter  types  again  differ  from  the 
mighty  horses  of  Achilles  rearing  and  plunging,  which 
Automedon  holds  in  check,  in  Regnault's  painting  at 
the  Boston  Art  Museum  —  or  the  "  flying  horses"  of 
Gericault's  famous  Derby  (in  the  Louvre).  Schrey- 
er's  Arab  horses  are  of  a  distinctive  type,  familiar 
in  many  compositions.  Rosa  Bonheur's  Horse  Fair 
is  a  veritable  equine  panorama  showing  many  types 
of  the  animal  in  different  moods.  Two  well-known 
paintings  in  the  Metropolitan  Museum  show  con- 
trasting conditions  in  the  life  of  the  sheep:  a  flock 
peacefully  grazing  in  the  spring,  by  Mauve,  and 
another  caught  in  the  fury  of  a  snow-storm,  by 
Auguste  Schenck.  The  appealing  weakness  of  baby 
animals  is  tenderly  set  forth  by  our  William  Morris 
Hunt,  in  the  Belated  Kid  and  Twin  Lambs  of  the 
Boston  Museum.  It  is  a  revelation  in  the  life  of  the 
fox  to  see  him  in  Winslow  Homer's  picture,  Winter 
(Pennsylvania  Academy),  speeding  over  the  field  of 
drifted  snow  in  his  flight,  chased  by  two  great  black 
crows.  The  two  beautiful  creatures  ranging  through 
the  woods  in  Liljfors's  painting  (Buffalo)  promt  an- 
other and  more  peaceful  phase  of  the  animal's  life. 
Paul  Potter's  famous  Bull  at  the  Hague  is  unique 
among  art  animals,  even  in  the  land  of  cattle  painters, 


90      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

for  the  marvelous  skill  in  which  the  creature's  coat  is 
reproduced  and  the  character  of  his  eye. 

For  pictures  of  cattle  in  the  surroundings  of  the 
farm  we  have  had  two  notable  schools  of  art,  the 
Dutch  and  the  French.  In  the  seventeenth-century 
Dutch  group  belong  Cuyp,  Adrian  van  der  Velde, 
Berchem,  Paul  Potter,  Du  Jardin,  and  Wouverman. 
Examples  of  these  masters  are  in  all  the  galleries  of 
the  Netherlands,  and  the  more  important  pictures 
have  been  reproduced  by  the  large  foreign  photog- 
raphers. The  traditions  of  Dutch  cattle  painting 
have  held  their  own  in  a  remarkable  way  through  the 
successive  generations.  The  favorite  animal  is  the 
cow,  which  a  witty  modern  critic  has  described  as  the 
"omnipresent  quadruped"  of  Dutch  art,  the  "inex- 
haustible source  of  ideas  re-created  a  hundred  times, 
but  always  lending  itself  to  fresh  transformations." 
A  group  of  nineteenth-century  men  have  proved 
themselves  worthy  followers  of  the  great  seventeenth- 
century  school.  Conspicuous  among  them  are  Mauve 
and  Maris.  The  Metropolitan  has  excellent  examples 
of  Mauve  as  well  as  of  the  Belgian  Verboeckhoven. 

Pictures  from  modern  French  animal  works  are 
widely  circulated.  Nearly  all  of  us  are  familiar  with 
Rosa  Bonheur's  Ploughing  in  Nivernais,  where  the 
huge  oxen,  three  yokes  for  each  of  the  two  ploughs, 
plod  patiently  across  the  field  drawing  the  primitive 
implement  which  upturns  the  soil  for  the  planting. 
Pretty  well  known,  too,  are  Troyon's  Oxen  going  to 
Work  and  the  Return  to  the  Farm,  companion  sub- 
jects in  the  Louvre.    Emile  Marcke  was  a  pupil  of 


ANIMAL  PICTURES  91 

Troyon,  and  his  rattle  pictures  show  much  the  same 
method  of  treatment.  There  are  examples  in  various 
American  collections  which  are  familiar  in  reproduc- 
tions. Dupre,  who  also  belongs  in  this  company, 
sometimes  painted  animal  subjects;  and  still  another 
member  of  the  nineteenth-century  French  group  was 
Charles  Jacque,  whose  specialty  was  sheep.  Pictures 
of  sheep  are  very  pleasing  to  children,  and  two  favor- 
ites of  the  schoolroom  and  nursery  are  Millet's  Shep- 
herdess and  LeRolle's  Shepherdess.  The  pig,  though 
a  familiar  figure  in  nursery  tales,  is  not  often  encoun- 
tered in  the  polite  society  of  art,  but  George  Mor- 
land's  Midday  Meal,  in  the  Metropolitan  Museum,  is 
a  pig  picture  worthy  of  admiration. 

As  I  have  referred  frequently  to  Landseer,  some- 
thing should  be  said  of  the  work  of  this  famous  animal 
painter.  In  the  mid-nineteenth  century  he  was  the 
popular  idol  in  England,  admired  equally  at  the  court 
and  among  the  common  people.  Engravings  from  his 
pictures  carried  his  name  and  his  art  all  around  the 
world.  Then  came  a  reaction  when  critics  began  to 
scoff  at  his  literary  and  anecdotic  qualities,  and  com- 
pared him  unfavorably  with  the  new  favorite,  Rosa 
Bonheur.  At  the  present  time  we  can  judge  both 
painters  more  fairly  and  see  their  respective  excel- 
lences. It  is  true  that  Landseer  emphasized  a  dog's 
kinship  with  man  rather  than  his  characteristic  ani- 
mal traits.  Instead  of  showing  the  bloodhound  in 
search  of  his  prey,  his  nose  to  the  trail,  he  repre- 
sented the  noble  creature  waiting  outside  his  wounded 
master's  door  in  an  agony  of  suspense.    Instead  of 


92      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

showing  the  Scotch  collie  at  his  proper  business  of 
keeping  the  flock  within  bounds,  he  represents  him 
grief-stricken  beside  the  shepherd's  coffin.  In  such 
subjects  as  Dignity  and  Impudence,  and  Jack  in 
Office,  the  dog  assumes  an  almost  human  pose  which 
appeals  to  the  sense  of  humor  as  a  sort  of  caricature. 
This  method  tends  to  sentimentalize  and  overhuman- 
ize  the  dog,  instead  of  representing  him  in  his  true 
function  in  the  animal  kingdom.  But  even  if  we 
count  out  all  the  pictures  in  which  the  painter  catered 
to  the  popular  anecdotic  taste,  there  still  remain  a 
sufficiently  large  number  beyond  such  criticism,  to 
give  him  high  rank  as  an  artist.  His  technical  facility 
is  above  praise:  he  reproduced  cleverly  the  texture  of 
the  hair  and  the  brightness  of  the  eye,  and  had  a  fine 
sense  of  pose.  The  deer  was  practically  his  original 
discovery.  Studying  this  noble  creature  in  the  Scot- 
tish Highlands,  he  interpreted  his  life  with  great 
fidelity  and  sympathy. 

Rosa  Bonheur's  animal  art  covered  a  much  larger 
range  of  subjects.  She  lived  surrounded  by  a  perfect 
menagerie  of  pets,  ministering  to  them  with  touching 
devotion  through  their  ailments  and  old  age.  Horses, 
dogs,  cattle,  deer,  and  lions  were  by  turns  her  favor- 
ites, both  as  companions  and  art  subjects.  She  knew 
the  lion  in  every  stage  of  his  life  from  the  soft  cub,  like 
the  picture  in  Bowdoin  College,  to  the  old  beast 
whose  head  was  the  model  of  "War."  Though  none 
knew  better  than  she  the  friendly  human  side  of  all 
animals,  she  exercised  admirable  self-restraint  in 
subordinating  this  element  to  the  essential  animal 


ANIMAL  PICTURES  93 

nature.  Her  strong,  sure  technique  is  of  high  rank. 
There  is  nothing  weak  or  effeminate  in  her  style,  but 
marked  virility.  Comparing  her  work  with  Land- 
seer's,  I  should  say  in  a  general  way  that  his  animal 
figures  are  more  often  in  repose,  and  hers  in  action. 
Perhaps  she  was  a  bit  overpraised  merely  because  she 
was  a  woman.  It  was  something  new  in  the  nine- 
teenth century  for  a  woman  to  attain  artistic  distinc- 
tion, and  still  newer  to  enter  a  field  regarded  as  dis- 
tinctively masculine.  Her  wTork,  too,  had  the  obvious 
finalities  which  make  for  popular  favor,  rather  than 
the  subtleties  which  appeal  to  the  connoisseur.  The 
very  bigness  of  the  Horse  Fair  and  the  Ploughing  in 
Nivernais  calls  forth  encomiums  from  the  unsophis- 
ticated admirer.  Severer  critics  find  her  lacking  in 
the  subtleties  of  modeling  which  Barye's  work  has 
taught  us  to  look  for,  or  in  the  dashing  qualities  of 
style  and  verve  which  Gericault  exemplified. 

Another  woman  devoting  herself  to  animal  art  was 
Henrietta  Ronner,  born  in  Holland,  and  living  after 
marriage  in  Belgium.  For  the  last  thirty  years  of  her 
life  she  specialized  in  cats,  and  was  liberally  patron- 
ized by  royalty  and  people  of  wrealth.  In  the  nineties 
she  published  two  beautiful  books  with  reproductions 
of  her  pictures.  These  illustrated  volumes  and  some 
scattered  magazine  articles  are  the  only  means  the 
general  American  public  has  had  of  knowing  the 
wonderful  work  of  this  cat  artist.  It  is  to  be  hoped 
that  time  will  open  these  treasures  to  us  all.  Some 
popular  cat  pictures  in  wide  circulation  among  the 
dealers  are  by  Adam  and  Lambert. 


94      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

If  we  cannot  get  hold  of  reproductions  of  good  ani- 
mal art,  we  can  at  least  find  photographs  direct  from 
life,  and  these  are  far  better  than  copies  of  poor 
paintings,  especially  crudely  colored  lithographs.  A 
poor  color  print  is  likely  to  be  flat  and  wooden  in 
effect,  while  the  camera  reproduces  the  delicate 
gradations  of  black  and  white  which  show  the  model- 
ing of  the  body.  Good  magazine  illustrations  supply 
us  with  much  excellent  material.  The  source  of  the 
picture  is  of  little  consequence,  so  long  as  we  see  to  it 
that  the  animal  represented  is  true  to  life. 

Reference  Books:  — 

John  Van  Dyke.    Studies  in  Pictures.   Chapter  on  the 

"Animal  in  Art." 
Sir   Walter    Gilbey.    Animal  Painters   of  England. 

London,  1900. 
Cosmo  Monkhouse.  Works  of  Sir  Edwin  Landseer,  with 

a  History  of  his  Art  Life. 
Estelle  M.  Hurll.    Landseer.    In  the  Riverside  Art 

Series. 
Rene  Peyrol.    Rosa  Bonheur:  Her  Life  and  Work. 

London,  1889. 
Marius  Vachon.   Henriette  Ronner,  the  Painter  of  Cat 

Life  and  Cat  Character.  Translated  by  Clara  Bell,  1895. 
Max  Rooses.   Dutch  Painters  of  the  Nineteenth  Century. 

Chapter  on  Henrietta  Ronner.   London,  1898. 

List  of  Animal  Pictures 

Child  with  animal  pet. 

Hoecker.    Girl  with  Cat.    (Dutch  child  with  quaint  cap.) 
Velasquez.  Prince  Baltasar  Carlos  on  Pony.  Madrid  Gallery. 
Prince    Baltasar    Carlos    (with   hunting   dogs). 

Madrid  Gallery. 
Reynolds.    Miss  Bowles  (and  spaniel).    Wallace  Collection, 

London. 


ANIMAL  PICTURES  95 

Reynolds.    Princess  Sophia  (and  poodle). 

Lady  Spencer  and  Son  (with  dog,  in  the  park). 
Murillo.   St.  John  the  Baptist  playing  with  the  Lamb. 

Examples  in  the  galleries  of  Vienna,  Madrid,  and 
the  National  Gallery,  London. 
The   Divine  Shepherd.    (Christ   Child  and   lamb). 
Madrid  Gallery. 
William  Morris  Hunt.   The  Belated  Kid.    (Young  girl  carry- 
ing home  the  tired  "baby.")    Boston  Art  Museum. 

Cattle  Subjects. 

Dutch.    Seventeenth  century. 

Cuyp.  Landscape  with  cattle.   Metropolitan  Museum,  New 
York. 
Landscape  with  cattle.   Metropolitan  Museum,  New 
York. 
Paul  Potter.    The  Young  Bull.  The  Hague  Gallery. 

Dutch.  Nineteenth  century. 

Mauve.    Spring.    Metropolitan  Museum. 
Autumn.    Metropolitan  Museum. 
Sheep  on  the  Dunes.   Buffalo. 

French.  Nineteenth  century. 

Troyon.    Oxen  Going  to  Work.   Louvre. 
Return  to  Farm.    Louvre. 
Holland  Cattle.    Metropolitan  Museum. 
On  the  Road.    Metropolitan  Museum. 
Schenck.    Lost.    (Sheep  in  storm.)    Metropolitan  Museum. 
Van  Marcke.  The  Mill.   Metropolitan  Museum. 
Farm  Scene.   Corcoran  Gallery. 
Herd.    Pennsylvania  Academy. 
The  Water  Gate.  Layton  Gallery,  Milwaukee. 
Golden  Autumn  Day.   Art  Institute,  Chicago. 
Dupre.   The  Escaped  Cow. 

The  Drinking-Trough. 
Jacque.    The  Sheepfold.   Metropolitan  Museum. 
Feeding  Sheep.    Louvre. 
Pastoral.   Buffalo. 

Miscellaneous  animal  subjects. 

William    Morris  Hunt.     The  Twin   Lambs.      Boston  Art 
Museum. 


06      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Winslow  Homer.    The  Fox.   Pennsylvania  Academy. 
Liljfors.    Foxes.  Buffalo. 

Gericault.    The  Derby.  Louvre.  , 

Dagnan-Bouveret.  At   the  Watering-Trough.     (Cart-horse 

and  driver.) 
Regnault.    Horses  of  Achilles.   Boston  Art  Museum. 
Schreyer.   Halt  in  the  Desert. 
On  the  March. 
Arab  Scouts. 
Rubens.  Lion  Hunt.    (Seven  men,  three  horses,  lion  and 
lioness.)   Munich. 
Lion  Hunt.  Dresden  Gallery. 

Landseer's  subjects. 

The  Newfoundland  Dog.  ("Distinguished  Member  of  the 
Humane  Society.") 

Shoeing. 

My  Dog. 

King  Charles  Spaniels  (lying  on  table).  National  Gallery. 

Sleeping  Bloodhound. 

Monarch  of  the  Glen.   (Deer.) 

The  Challenge.   (Deer.) 

The  Sanctuary.   (Deer.) 

Highland  Shepherd's  Chief  Mourner.  (Shepherd  dog  beside 
master's  coffin.) 

Suspense.    (Bloodhound.)    South  Kensington  Museum. 1 

Twa  Dogs.   South  Kensington  Museum. 

High  Life  and  Low  Life.  (Bulldog  and  greyhound,  compan- 
ion subjects  in  National  Gallery  of  British  Art,  London.) 

The  Nutcrackers.    (Squirrels.) 

Rosa  Bonheur's  subjects. 

The  Shepherd  Dog.   Wallace  Collection,  London. 

Flambeau.    (Dog's  head.) 

Deer  in  the  Forest.   Metropolitan  Museum. 

Lion  Cub.  Bowdoin  College. 

Peace.   (Head  of  horse.) 

War.   (Head  of  old  lion.) 

Ploughing  in  Nivernais.  Luxembourg,  Paris. 

Horse  Fair.   Metropolitan  Museum. 

Haymaking  in  Auvergne.  Luxembourg. 

Brittany  Sheep. 

Sheep  of  Berry.  ■ 


IX 

PICTURES    OF    CHILDREN 

A  wise  mother  is  glad  to  have  her  child  enjoy  the 
companionship  of  other  children.  It  makes  for  nor- 
mal development  that  he  should  mingle  with  others 
of  his  own  age  in  the  home,  in  the  school,  and  at  his 
play.  And  it  is  simply  an  extension  of  the  same  prin- 
ciple that  his  first  books  and  pictures  are  about  chil- 
dren. Every  little  boy  or  girl  he  meets  or  hears  about 
is  interesting  to  him,  and  he  welcomes  a  picture  child 
as  a  new  friend.  Among  very  little  ones,  pictures  of 
boys  or  girls  are  equally  enjoyed,  but  the  time  soon 
comes  when  boys  naturally  take  to  their  own  kind 
and  girls  to  theirs.  We  can  hardly  surfeit  them  with 
this  class  of  subjects,  and  indeed  no  grown-up  with  a 
heart  for  children  ever  tires  of  good  art  of  this  sort. 
The  popularity  of  such  subjects  is  seen  in  the  im- 
mense output  of  advertising  material  adorned  with 
child  pictures.  Many  of  these  reproduce  photo- 
graphs of  real  babies,  and  are  by  no  means  to  be 
despised.  Much  of  the  artistic  modern  photography 
compares  favorably  with  high  art.  Nevertheless,  our 
repertory  should  not  be  wholly  supplied  from  this 
source.  It  is  desirable  for  the  child's  all-around  edu- 
cation that  his  art  world  be  peopled  with  children  of 
many  periods  and  nationalities.  In  the  <ml>arrass- 
ment  of  riches  which  are  available  for  this  purpose 


98      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

the  classified  descriptive  list  at  the  close  of  this  chap- 
ter will  help  mothers  and  teachers  to  make  wise  selec- 
tions. The  pictures  referred  to  have  been  tested  by 
much  practical  experience  and  found  attractive  and 
interesting  to  children. 

Technically  the  picture  of  a  child  is  a  far  more  diffi- 
cult achievement  than  that  of  an  adult.  When  the 
Italian  primitives  were  struggling  with  the  problems 
of  the  human  figure  they  represented  children  as  min- 
iature grown-ups.  The  Christ-child  in  the  arms  of  his 
mother,  as  old  Cimabue  and  Giotto  painted  him,  is  a 
good  deal  like  a  doll.  The  real  live  baby  was  not  born 
into  the  world  of  art  till  a  much  later  date.  Indeed, 
the  very  young  baby  has  never  been  a  common  art 
subject,  for  the  painter  has  naturally  preferred  the 
more  attractive  stages  of  childhood. 

An  inexhaustible  storehouse  of  child  pictures,  as  all 
the  world  knows,  is  that  vast  body  of  works  to  which 
we  apply  the  Italian  name  "Madonna,"  because  it 
was  in  Italy  that  the  subject  had  complete  historical 
development.  It  represents  Mary,  the  mother  of 
Jesus,  with  the  Christ-child  in  her  arms,  and  was  the 
first  artistic  effort  of  the  Christian  era  to  portray 
childhood.  The  theme  makes  an  instantaneous  ap- 
peal to  children  of  all  ages,  and  will  never  outgrow 
popular  favor.  In  making  selections  for  our  children, 
we  do  well  to  avoid  the  archaic  paintings  of  the  early 
centuries  and  all  the  more  formal  altar  pieces,  looking 
first  for  the  elements  of  human  interest  and  childish 
affection.  The  simplest  compositions  are  best.  From 
the  great  Renaissance  Italians  the  best  beloved  mas- 


PICTURES  OF  CHILDREN  99 

ters  are  Andrea  del  Sarto,  Raphael,  Correggio,  Luini, 
Bellini,  and  Titian.  The  German  Holbein's  Meyer 
Ma.lonna  also  belongs  in  this  period.  From  the 
seventeenth-century  names  I  would  add  those  of 
Carlo  Dolce  (with  discrimination),  Murillo  (Spanish), 
and  the  two  great  Flemings,  Rubens  and  Van  Dyck. 
All  these  men  understood  well  the  representation  of 
innocent,  happy  childhood.  There  are  also  many 
excellent  modern  Madonna  pictures  in  the  art  stores 
by  Gabriel  Max,  Bodenhausen,  Dagnan-Bouveret, 
Sichel,  Ferrari,  and  others. 

The  children's  special  favorites  among  Raphael's 
works  are  the  Madonna  of  the  Chair  and  the  Sistine 
Madonna.  In  innumerable  schoolrooms  all  over  the 
land  hangs  one  or  the  other  of  these  two  pictures. 
Many  stories  are  told  by  the  teachers  of  the  benefi- 
cent influence  of  these  noble  ideals  of  motherhood  and 
childhood  upon  pupils  of  every  race  and  creed.  Such 
subjects  may  be  considered  entirely  apart  from  their 
original  ecclesiastical  significance  as  a  universal  type 
of  the  tenderest  of  human  relations.  I  heard  of  a 
young  high-school  girl,  obliged  to  give  up  her  course 
because  of  tuberculosis,  who  talked  constantly  of  the 
beautiful  picture  which  hung  in  the  schoolroom.  The 
mother  found  upon  inquiry  that  it  was  the  Sistine 
Madonna,  a  copy  was  procured,  and  the  girl's  last 
days  were  made  happier  by  the  gracious  presence  in 
her  sick-room. 

The  two  great  Raphaels  illustrate  a  contrast  in 
motive  which  a  child  is  quick  to  grasp.  The  child  of 
the  Chair  Madonna  nestles  in  his  mother's  protecting 


100    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

arms,  seeking  shelter  from  danger,  but  the  Sistine  boy 
is  like  a  little  prince  who  is  thinking  of  his  people, 
and  is  setting  forth  to  help  the  world.  In  the  chil- 
dren's phrase  one  is  "babyish,"  and  the  other 
"manly."  I  call  the  Chair  Madonna  the  "Madonna 
of  Love,"  and  the  Sistine,  the  "Madonna  of  Service." 
The  central  portion  of  the  Sistine  Madonna  makes  a 
picture  complete  in  itself.  In  fact  many  of  the  most 
attractive  Madonna  subjects  are  made  in  this  way, 
by  photographing  the  central  detail  in  a  separate 
print. 

A  subject  closely  akin  to  the  Madonna  and  Child  is 
Charity,  a  symbolic  expression  of  that  all-embracing 
spirit  of  love  which  gathers  the  children  of  the  world 
in  its  care.  A  noble  group  by  Andrea  del  Sarto  treats 
this  subject  as  a  motherly  woman  seated,  with  a  child 
at  her  breast,  another  on  her  knee,  and  another  at  her 
feet.  Burne-Jones  made  a  tall,  narrow  panel  of  Char- 
ity standing  with  a  baby  on  each  arm  and  four  chil- 
dren at  her  feet.  Abbot  Thayer's  painting  in  the  Bos- 
ton Art  Museum  is  a  third  well-known  example. 
Here  Charity  extends  both  arms  as  if  to  shelter  all 
children  beneath  them,  and  two  little  ones  stand  at 
her  feet  nestling  against  her  sides.  Such  pictures  are 
admirably  adapted  to  the  nursery  and  the  lower  grade 
schoolroom.  And  perhaps  here,  better  than  anywhere 
else,  should  be  mentioned  that  beautiful  picture  of 
kindred  theme,  Murillo's  Guardian  Angel. 

The  Holy  Family  is  an  enlargement  of  the  Ma' 
donna  subject  by  the  introduction  of  other  figures. 
A  pleasant  fancy  of  the  old  masters  was  to  represent 


PICTURES  OF  CH II. I  101 

the  little  St.  John  Baptist,  cousin  of  Jesus,  as  a  play- 
mate of  the  holy  child.  Here  are  endless  possibilities 
of  story  interest  for  a  child's  delight.  An  effective 
contrast  is  made  between  the  swarthy,  skin-clad 
Baptist  and  the  fair-haired  Christ-child.  The  sturdy 
St.  John  is  the  most  affectionate  slave  of  his  cousin, 
bringing  offerings  of  fruit  and  flowers  or  kneeling  in 
adoration.  Raphael  was  particularly  felicitous  in  this 
subject,  and  examples  are  numerous  also  among  his 
contemporaries.  Single  ideal  portraits  of  either  of  the 
two  boys  are  not  very  common,  but  are  treasures 
worth  picking  up  when  they  are  to  be  found.  Andrea 
del  Sarto's  St.  John  Baptist,  the  boy,  is  an  excep- 
tional picture,  and  a  great  favorite.  Murillo's  so- 
called  Children  of  the  Shell  is  a  delicately  conceived 
subject  of  the  relation  between  the  two  cousins.  They 
have  been  playing  together  with  the  lamb,  when  St. 
John  becomes  thirsty ,  and  the  Christ-child  offers  him 
to  drink  from  a  shell. 

The  several  striking  incidents  of  the  infancy  of 
Jesus  have  all  been  very  often  illustrated,  and  form  a 
series  of  delightful  pictures  of  child  life.  The  birth  in 
the  Bethlehem  manger,  the  visit  of  the  shepherds  to 
the  newborn  babe,  the  coming  of  the  wise  men  with 
their  Oriental  gifts,  the  presentation  of  the  babe  in 
the  Temple,  the  flight  into  Egypt,  and  the  visit  of 
the  twelve-year-old  boy  in  the  Temple,  have  been 
made  vivid  by  the  art  of  many  centuries.  In  choosing 
such  pictures  we  must  be  careful  to  see  that  artistic 
beauty  is  united  with  good  illustrative  quality.  It 
must  be  understood  that  none  of  the  great  painters  of 


102    HOW  TO  SUOW  PICTURES  TO  CHILDREN 

the  past  made  any  attempt  to  represent  Bible  scenes 
with  historical  accuracy.  They  knew  and  cared 
nothing  about  the  customs  and  topography  of  Pales- 
tine in  the  first  century.  Happily,  however,  our  chil- 
dren have  no  archaeological  prejudices.  Their  interest 
centers  upon  the  babe,  who  lies  serenely  on  his  bed  of 
straw  in  the  company  of  the  ox  and  the  ass,  who 
receives  his  first  gifts  with  eager  delight,  who  is  borne 
in  his  mother's  arms  on  their  long  donkey  ride  into  a 
far  country,  and  who  later  discusses  gravely  with  the 
gray-beards  of  the  Temple  the  great  volume  of  the 
Scriptures. 

Another  class  of  attractive  child  pictures  emanat- 
ing from  the  old  masters  is  the  joyous  company  of 
angels  who  figure  so  conspicuously  in  religious  com- 
positions. They  fill  the  heavenly  spaces  with  their 
choirs  and  make  music  before  the  Madonna's  throne. 
They  sport  playfully  in  the  clouds  or  make  themselves 
useful  on  the  earth,  companions  and  playmates  of 
the  Christ-child,  or  attendants  upon  sacred  person- 
ages. And  always,  whether  praying,  adoring,  singing, 
serving,  they  are  the  perfect  embodiment  of  the 
eternal  child  spirit.  Correggio  is  easily  first  in  this 
peculiar  field,  as  the  creator  of  the  most  fascinating 
elflike  sprites,  bubbling  over  with  mischief.  The  same 
elfin  creature  is  by  turns  angel  or  cupid,  playing  with 
the  helmet  and  sword  of  St.  George,  or  sharpening  an 
arrow  by  the  couch  of  Danae. 

The  child  angel  as  a  musician  belongs  especially  to 
the  Venetian  art,  placed  at  the  bottom  of  a  formal 
altar  piece.  Some  of  the  best-loved  figures  of  painting 


PICTURES  OF  CHILDREN  103 

are  these  artless  little  creatures,  bending  over  lute  or 
violin  with  complete  absorption.  Bellini,  Palma,  and 
(arpaccio  contributed  some  winsome  examples.  A 
few  of  the  Florentines  —  notably  Raphael  and  Barto- 

lommeo  —  and  the  Bolognese  Francia  adopted  the 
Venetian  idea  with  characteristic  variations.  Other 
baby  figures,  or  "putti,"  for  all  sorts  of  decorative 
purposes,  are  scattered  freely  through  Italian  Renais- 
sance painting,  carrying  banderoles  or  cartouches, 
supporting  pedestals  or  medallions.  In  the  limited 
repertory  of  subjects  in  this  period,  these  child  ideals 
formed  a  sort  of  outlet  for  the  artist's  playful  fancy. 
Turning  from  these  ideal  child  subjects  of  past  cen- 
turies to  the  field  of  portrait  painting,  we  find  that 
real  portraits  of  real  children  constitute  a  very  inter- 
esting and  attractive  class  of  pictures  for  the  little 
ones  in  our  schools  and  homes.  They  make  the  home 
life  of  historic  periods  more  vivid  to  us,  they  teach  us 
how  the  boys  and  girls  of  olden  times  dressed,  and, 
most  of  all,  they  show  us  that  child  nature  is  the  same 
in  all  ages.  With  what  wonder  and  curiosity  do  we 
gaze  upon  the  monstrous  skirts,  the  long,  stiff  corsets, 
and  the  elaborate  finery  which  burdened  little  royalty 
of  long  ago.  But  that  babies  of  four  hundred  years 
back  played  with  rattles  as  they  do  now,  and  that 
children  frolicked  with  pet  dogs  and  clung  to  their 
mothers'  knees,  unites  the  past  and  the  present  very 
closely.  Sometimes  we  come  unexpectedly  upon  a 
style  of  dress  which  seems  quite  familiar  —  a  plumed 
hat,  a  jaunty  cap,  a  broad  lace  collar,  a  "Dutch  cut " 
of  hair,  a  "Russian  blouse."    The  picture  of  a  child 


104    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

elicits  the  prompt  demand  for  information  about  the 
original  —  where  does  he  live,  what  is  his  name,  etc. 
We  must  take  pains  to  answer  such  questions  intel- 
ligently and  consistently.  If  we  cannot  learn  much  of 
the  pictured  child's  real  story,  we  may  at  least  place 
definitely  the  nationality,  the  period,  and  the  social 
class,  so  to  speak,  while  the  face  tells  us  something  of 
the  particular  temperament.  A  little  experience 
makes  us  adept  in  the  art  of  inference  and  teaches  us 
to  note  every  detail  which  may  give  the  clue  to  the 
child's  character.  When  a  historical  personage  is 
represented,  we  have  plenty  of  interesting  material 
to  connect  with  the  portrait. 

Child  portraits  were  rare  articles  in  the  Italian 
Renaissance,  but  of  course  we  all  know  that  there  is 
no  rule  without  exception.  Now  and  again  some 
painter  —  Ghirlandajo,  Botticelli,  Pinturicchio  — 
pleased  himself  by  turning  off  the  portrait  of  a  boy  or 
girl  whose  face  had  caught  his  fancy.  Occasionally  a 
fond  parent,  like  the  great  Duchess  Isabella  d'Este 
or  a  Medici  prince,  gave  an  order  for  the  likeness  of  a 
beloved  child.  We  can  count  these  exceptional  pic- 
tures on  the  ringers,  but  they  are  precious  enough  to 
cherish  both  for  their  artistic  and  historic  value. 

With  the  great  portrait  schools  of  the  seventeenth 
century  the  child  came  into  his  rightful  art  place. 
From  this  time  forward  children's  pictures  occupy 
their  proper  proportion  in  the  total  product  of  any 
period  and  school  of  art.  But  with  all  this  abundance 
of  material  one  can  never  choose  a  child's  picture  at 
random.    It  is  not  given  to  all  in  equal  measure  to 


PICTURES  OF  CHILDREN  105 

understand  the  heart  of  a  child.  There  is  a  certain 
touchstone  of  sympathetic  imagination  by  which  \v«- 
must  test  the  essential  quality  of  the  pictures.  To 
begin  with,  lot  us  look  for  something  better  than  mere 
doll-like  superficial  prettiness.  The  child  need  not  be 
pretty  to  be  interesting  or  attractive.  Just  a  plain 
little  everyday  kind  of  girl  who  looks  like  a  nice  play- 
mate, or  a  jolly  good-natured  sort  of  boy  who  is 
ready  for  any  fun,  makes  the  most  delightful  picture. 
A  self-conscious,  artificial  child  is  as  undesirable  in  a 
picture  as  in  real  life,  and  that  artist  is  most  success- 
ful whose  work  is  most  simple  and  natural.  This  is 
why  Velasquez  is  so  great,  and  Greuze  often  so  weak, 
and  Van  Dyck  so  uneven.  Where  in  the  world  of  art 
can  you  match  the  simple  babyish  gravity  of  the  in- 
fant Baltasar  (Boston  Art  Museum),  the  pathetic 
timidity  of  Maria  Theresa,  or  the  sweet  shyness  of  the 
Princess  Margaret?  Velasquez  was  free  from  the 
common  fault  of  overmodeling  the  child's  face,  paint- 
ing only  what  he  saw.  Never  straining  after  effects, 
his  perfect  self-restraint  was  an  element  of  his  suc- 
cess. All  their  absurd  and  gorgeous  court  costumes 
cannot  hide  the  true  child  nature  of  the  little  Spanish 
royalties. 

Now  the  young  girls  of  Greuze,  with  all  their  pret- 
tiness, are  not  really  natural.  They  are  consciously 
posing  for  your  admiration.  And  as  you  come  to  look 
at  them  the  second  time,  you  see  that  they  are  not  so 
young  as  they  seem  to  be.  Some  of  them  are  only 
make-believe  little  girls,  with  arch  smiles.  Even  the 
charming  maiden  of  the  Broken  Pitcher,  so  carefully 


106    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

made  up  with  a  rose  in  her  hair  and  a  nosegay  in  her 
corsage,  is  not  quite  convincing.  While  the  picture 
has  some  fine  qualities,  the  motive  lacks  sincerity  and 
spontaneity,  and  I  for  one  would  give  a  good  deal 
more  for  the  wistful  child  with  the  apple  in  the  Lon- 
don Gallery.  Associated  in  our  thoughts  with  the 
name  of  Greuze  is  that  of  Madame  Le  Brun,  who 
began  her  art  career  by  copying  Greuze' s  heads.  She 
was,  however,  more  sincere,  if  less  gifted,  than  he,  and 
she  added  something  to  the  treasures  of  child  por- 
traiture in  the  charming  pictures  of  her  little  daugh- 
ter. The  Mother  and  Daughter  in  the  Louvre  is  a  fine 
and  deservedly  popular  work. 

The  child  portraiture  of  Van  Dyck  is  always  sincere 
and  serious,  but  the  posing  and  grouping  are  not 
uniformly  natural.  The  oft-repeated  children  of 
Charles  I  stand  in  rather  stiff  and  uncompromising 
rows,  but  any  such  faults  are  forgotten  for  the  splen- 
did artistic  qualities  of  the  work.  The  heads  are 
beautifully  done  and  make  complete  separate  pic- 
tures, particularly  Prince  Charles,  and  the  inimitable 
"Baby  James,"  the  Duke  of  York,  in  his  little  bonnet. 
Princess  Mary  is  a  bit  too  prim  to  be  really  childlike. 
My  own  favorites  among  Van  Dyck's  child  figures 
belong  to  the  earlier  periods  when  his  inspiration  had 
not  lost  its  freshness,  like  the  White  Boy  of  the  Dur- 
azzo  Palace  in  Genoa,  souvenir  of  his  youthful  Italian 
journey,  and  Richardot  and  his  son,1  from  the  Flemish 
groups.  The  child  portraits  of  Cornelis  de  Vos  should 

1  An  illustration  in  the  volume  on  Van  Dyck  in  the  Riverside  Art 
Series. 


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PICTURES  OF  CHILDREN  107 

be  classed  with  those  of  Van  Dyck,  whose  contem- 
porary he  was,  and  whose  skill  he  closely  rivaled. 
They  represent  his  own  engaging  little  daughters. 
The  Dutch  schools  of  the  same  day  furnish  us  many 
valuable  examples  of  the  subtle  art  of  child  portrait- 
ure. It  was  a  fashion  there  for  well-to-do  merchants 
to  have  group  pictures  painted  of  the  entire  family. 
From  this  custom  we  see  in  the  galleries  a  wonderful 
array  of  these  pictures  showing  well  the  solidarity  of 
the  Dutch  home  life.  It  goes  without  saying  that 
Dutch  children  are  always  chubby  and  rosy,  and  the 
soberness  of  their  costume  gives  them  an  air  of  quaint 
gravity.  Besides  the  more  common  or  typical  works, 
we  have  a  few  priceless  gems  which  every  child-lover 
values. 

It  was  the  glory  of  the  English  eighteenth-century 
art  to  develop  the  beauty  of  womanhood  and  child- 
hood, and  from  this  school  came  forth  a  host  of  pic- 
ture children  to  delight  the  world.  A  characteristic 
quality  is  their  animation.  Contrasted  with  the  staid 
and  quiet  figures  of  the  little  Italians,  Spaniards,  and 
Flemings  of  the  previous  centuries  these  English 
young  folk  are  sparkling  with  life  and  gayety.  In 
attitude,  gesture,  and  expression  we  get  the  whole 
story  of  the  child's  individual  temperament.  Sir 
Joshua  Reynolds  was  the  head  of  the  School.  He  was 
one  of  those  rare  spirits  who  win  the  complete  con- 
fidence of  a  child.  He  was  their  boon  companion,  and 
while  he  romped  with  them  as  a  playmate,  his  keen 
artist's  eye  noted  their  qualities  as  models.  Delightful 
stories  are  told  of  that  great  octagonal  room  in  Lei- 


108    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

cester  Square  from  which  proceeded  such  shouts  of 
laughter  that  none  could  have  dreamed  it  was  a 
painter's  studio.  From  this  enchanted  castle  were 
sent  many  masterpieces  which  have  made  the  youth- 
ful originals  household  names,  like  Penelope  Boothby 
and  Miss  Bowles.  Not  content  with  filling  a  multi- 
tude of  orders,  the  painter  seized  every  opportunity 
to  make  ideal  or  "fancy"  subjects  of  children  for  his 
own  amusement,  using  his  little  niece  and  grandniece 
as  models.  It  is  thus  that  we  have  the  Strawberry 
Girl,  the  Age  of  Innocence,  Simplicity,  and  Little 
Samuel.  Gainsborough,  like  Van  Dyck,  inclined  to 
the  more  poetic  and  serious  aspects  of  child  life,  and 
therefore  does  not  so  readily  win  a  child's  attention. 
But  the  Blue  Boy  should  be  introduced  to  all  our 
children  as  a  notable  work  of  art,  and  no  one  can  fail 
to  respond  to  the  intimate  charm  of  his  expression. 
The  works  of  the  lesser  painters  of  the  English  school, 
Romney,  Opie,  Hoppner,  and  Sir  Thomas  Lawrence, 
have  not  been  widely  enough  reproduced  to  become 
familiar  to  the  general  public.  But  little  by  little,  as 
they  find  their  way  to  large  collections,  we  may  hope 
to  add  to  our  knowledge  of  this  marvelous  setting- 
f orth  of  child  life  in  its  happiest  and  most  wholesome 
vein. 

When  we  come  down  to  our  own  period  in  our  art 
study,  our  troubles  increase,  as  we  try  to  collect 
reproductions  of  some  modern  masterpieces  of  child 
portraiture.  Costly  copyrighted  photographs  we 
cannot  all  possess,  but  we  derive  such  satisfaction  as 
we  may  from  poring  over  chance  cuts  in  magazines 


PICTURES  OF  CHILDREN  109 

and  expensive  illustrated  books.  Through  these 
sources  we  learn  how  many  children's  pictures  were 
made  by  the  French  Bouguereau  and  Boutet  de 
Monvel,  the  English  Sir  John  Millais  and  Burne- 
Jones.  A  few  good  contemporary  pictures,  like  Shan- 
non's Miss  Kitty  and  Mr.  Chase's  Alice,  are  scattered 
through  our  American  public  collections,  and  are 
rapidly  becoming  known  through  the  efforts  of  art 
dealers. 

And  now  for  our  lists :  — 

List  of  Pictures  of  Children 

Madonna  subjects. 

Raphael.    Madonna  of  the  Diadem.   Louvre,  Paris.    (Baby 
asleep.) 
Granduca  Madonna.   Pitti  Gallery,  Florence. 
Tempi  Madonna.   Munich. 
Chair  Madonna.   Pitti  Gallery,  Florence. 
Sistine  Madonna,  Dresden  Gallery. 
Correggio.    Madonna  with  Angels.   Uffizi  Gallery,  Florence. 

Kneeling  Madonna.    Uffizi  Gallery,  Florence. 
Andrea  del  Sarto.  Madonna  of  the  Harpies.   (So  called  from 
decoration  of  pedestal.)    U^ffizi  Gallery,  Flor- 
ence.  (Detail  of  mother  and  child.) 
Botticelli.    Madonna.    Louvre,  Paris. 
Filippo  Lippi.   Madonna.      Uffizi.      (Mother    seated,    and 

angels  holding  babe.) 
Perugino.  Kneeling  Madonna.    National  Gallery,  London. 

(Central  panel  of  triptych.) 
Luini.  Madonna  of  the  Rose  Hedge.    Brera,  Milan. 

Madonna  at  Lugano.   (Lunette,  Christ-child  playing 
with  lamb,  little  St.  John  on  other  side.) 
Bellini.   Madonna  of  Two  Trees.    Venire  Academy. 

Madonna  and  Child.    National  Gallery. 
Titian.    Pesaro  Madonna.   Church  of  Frari.  Venice.   (Detail 
of  mother  and  child.) 
Madonna  of  Babbit.    National  Gallery. 
Giorgione.    Madonna.   Castelfranco,  near  Venice. 


110    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Palma.   Madonna  and  Saints.   Dresden. 
Moretto.    Madonna  and  St.  Nicholas.    Brescia.    (Unique 
and  charming.    The  old  saint  introduces  two 
little  boys  to  the  Christ-child,  two  others  follow- 
ing him.) 
Carlo  Dolce.   Madonna.  Dresden.   (Child  asleep.) 

Madonna.     Pitti   Gallery,   Florence.     (Child 
standing  on  mother's  knee.) 
Holbein.  Meyer  Madonna.   Dresden  Gallery. 
Murillo.  Madonna.   Pitti  Gallery,  Florence. 
Madonna.   Corsini  Gallery,  Rome. 
Van  Dyck.    Presepio.   Corsini,  Rome. 

The  Holy  Family. 

Raphael.    Cardellino  Madonna   (Madonna  of    Goldfinch). 
Uffizi,  Florence.   (Mother  with  two  children  in 
landscape;  St.  John  bringing  goldfinch.) 
Madonna  of  the  Meadow.  Vienna.   (Mother  and 

the  two  children  in  landscape.) 
Belle   Jardiniere.     Louvre.     (Mother   with   two 

children  in  landscape.) 
Madonna  dell'  Impannata.  Pitti.   (Two  mothers, 

Mary  and  Elizabeth,  with  the  two  children.) 
Madonna  of  the  Pearl.   Madrid.   (Four  figures  as 
above.   Full  of  joyous  domestic  feeling.) 
Pinturicchio.  Holy   Family.     Siena   Gallery.     (Landscape. 
Mary  and  Joseph  seated.  The  two  children 
running  across  meadow  to  draw  water  from 
fountain.    The  children's  figures  are  photo- 
graphed separately.) 
Titian.    Madonna  of  the  Cherries.    Vienna.    (Mother  with 
the  two  children.   St.  John  bringing  fruit.) 
Madonna  with  St.  Anthony.    Uffizi.    (Mother  with 
two  children.    St.  John  bringing  flowers.) 
Luini.  Holy   Family.    Ambrosian   Gallery.    Milan.     (Two 
mothers,  Mary  and  Elizabeth,  with  the  children.) 
Andrea  del  Sarto.  Holy  Family.   Two  pictures  in  the  Pitti, 

Florence. 
Knaus.  Holy  Family.    Metropolitan,  New  York.     (Little 
angel  peeping  at  babe  in  mother's  lap.  Joseph  on 
donkey  in  rear.) 
Rubens.  Holy  Family.  Pitti,  Florence. 


PICTURES  OF  CHILDREN  111 

Van  Dyck.     Holy    Family.     Turin.     (Two    mothers    and 
St.  Joseph.     Christ-child  eagerly  springing 
toward  St.  John.) 

Nativity. 

Correggio.   Holy  Night.   Dresden. 
Luini.   Nativity.    Louvre 

Nativity.   Como  Cathedral. 
Lorenzo  di  Credi.  Adoration  of  Shepherds.   Uffizi,  Florence. 
Lorenzo  Lotto.   Adoration  of  Shepherds.   Brescia. 
Murillo.   Adoration  of  Shepherds.   Madrid   Gallery. 
LeRolle.    Arrival  (if  Slu-plierds. 
Burne-Jones.  Nativity.   Torquay. 

Adoration  of  Kings  (or  Magi.) 

Ghirlandajo.   Foundling  Hospital,  Florence. 
Gentile  da  Fahriano.  Florence  Academy. 
Burne-Jones.  Star  of  Bethlehem.   Oxford,  England. 

Flight  into  Egypt. 

Holman  Hunt.    Triumph  of  Innocents.    (Circle  of   angels 

dancing  about  wayfarers.) 
Correggio.   Madonna     della     Scodella.      Parma     Gallery. 

(Mother  dipping   water   from   pool   and   St. 

Joseph  plucking  dates  for  Christ-child.) 

Presentation  in  Temple. 

Bartolommeo.  Vienna.     (Group   of  five  figures,   the   aged 
Simeon  holding  the  Christ-child.) 

Christ  among  Doctors. 

Holman  Hunt.    (Interior    of   Temple    with    many    figures, 

Mary  just  discovering  the  lost  child.) 
Hoffman.  (Group  of    six    figures  in  three-quarter    length. 
Boy  Christ  pointing  to  Scriptures.) 

Child  Angcht. 

As  parts  of  compositions. 

Botticelli.  In  the  Incoronata,  Uffizi,  Florence.  (Holding 
crown  of  stars  over  Madonna's  head,  and  sup- 
porting her  writing  materials  for  inscribing  the 
Magnificat.) 


112    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Filippino  Lippi.  In  Holy  Family,  Pitti,  Florence.  (Adoring 
and  scattering  rose  petals  over  child  who 
lies  on  the  ground.) 
In  The  Vision  of  St.  Bernard,  Church  of 
the  Badia,  Florence.  (Four  attendants  of 
Virgin.  One  with  folded  hands  is  photo- 
graphed separately.) 
Leonardo  da  Vinci.    In  the  Baptism  by  Verrochio,  Florence 

Academy.     (Two    kneeling    attend- 
ants. Photographed  separately.) 
Titian.   In   the  Assumption.     Venice  Academy.     (Angelic 
throng  upbearing  ascending  Virgin.  Some  groups 
photographed  separately.) 
Correggio.   In  frescoes  in  dome  of  Church  of  St.  John  Evan- 
gelist, Parma. 
In  ceiling   decoration  in  Convent  of   S.  Paolo, 
Parma.     (Bearing   implements   of    chase,   to 
accompany  Diana.   Each  figure  in  a  medallion, 
photographed  as  separate  picture.) 
Murillo.  In  Immaculate  Conception,  Louvre,  Paris.     (An- 
gelic throng  upbearing  Virgin.) 
Van  Dyck.    Repose  in  Egypt.    Pitti,  Florence.    (Circle  of 
baby    angels    dancing   to  entertain   Christ- 
child.) 
Raphael.    In  Sistine  Madonna,  Dresden.  (Two  cherub  heads 
at  bottom  of  picture.) 
In  Foligno  Madonna.   Vatican  Gallery.   (Cherub 

holding  cartouche  at  bottom  of  picture.) 
In  Jurisprudence  fresco,  Vatican,  Rome.  (Cherub 

in  right  corner.) 
In  Fresco  of  Sibyls,  S.  Maria  della  Pace,  Rome. 
(Cherub.) 

As  separate  pictures. 

Rubens.  Vienna  Gallery.    (Angels  playing  with  Christ-child 
and  lamb.) 
Munich  Gallery.    (Angels  playing  with  garland  of 
flowers.) 
Rosso  Fiorentino.  Uffizi,  Florence.   (Angel  with  guitar.) 
Andrea  del  Sarto.  Florence  Academy.     (Two    angels    with 

scroll.) 


PICTURES  OF  CHILDREN  113 

Musical  child  angels  in  altar  pieces,  photographed  as  separate 
figures.1 

Bellini.    In  Frari  Madonna,  Venice.    (Lute-player.    Flute- 
player.) 
Yivarini.    In  Redcntore  Madonna,  Venice.    (Two  baby  lute- 
players.) 
Carpaccio.    In     Presentation.      Venice    Academy.      (Lute- 
player.) 
Palma.  In  Madonna  enthroned.  Vicenza.  (Violinist.) 
Raphael.    In  Baldacchino  Madonna,  Pitti,  Florence.    (Two 

choristers.) 
Bartolommeo.     In   Marriage  of  St.   Catherine.     Florence. 

(Guitar-player  and  violinist.) 
Francia.  In  Madonna  of  S.  Giacomo,  Bologna.    (Two  girl 
musicians.) 

Child  portraits. 

Italian  Renaissance. 

Pinturicchio.  Dresden  Gallery.   (Boy.  Bust.) 
Ghirlandajo.    Louvre.    (Old  man  and  little  child.) 
Francia.   Federigo    Gonzaga.     Bust.     Altman    Collection, 
New  York.    (The  boy  was  son  of  Isabella  d'Este 
and  the  Duke  of  Mantua.) 
Morone.  Bergamo  Gallery.    (Little  girl.   Bust.) 
Paris  Bordone.   Uffizi  Gallery.    (Bust  of  boy  with  plumed 

hat.) 
Baroccio.   Prince   of   Urbino.     Pitti,    Florence.     (Baby   in 

cradle.) 
Tiberio  Titi.    Prince  Leopold  de'  Medici.    Pitti.    (A  baby.) 
Bronzino.  Don  Garcia.   Uffizi.    (Fat  baby  boy  with  bird.) 

Princess  Mary.    Uffizi.    (Prim  little  girl.) 
Titian.   Lavinia.   Berlin  Gallery. 

Flemish.   Seventeenth  century. 

Rubens.  Two  sons.   Vienna  Gallery.    (Full-length  figures  in 

rich  costumes.) 
Van  Dyck.    Children  of  Charles  I. 

Group  of  three  (full  length).    Turin  Gallery. 
(The  group  from  which  the  separate  heads 

1  La  PWrge'l  Suonatore  in  the  Worcester  Art  Musoum  is  a  beautiful 
picture  inspired  by  the  musical  angeU  of  the  old  Italian  altar  piece*.    . 


114    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

are  taken,  Charles,  Mary,  and  Baby  James.) 
Group  of  three  (full  length) .  Dresden  Gallery. 
Group  of  five.  Berlin  Gallery. 
Princess    Mary   and    Prince  William    (her 
fiance).  Amsterdam. 

Prince  William  of  Nassau.  St.  Petersburg. 
Cornelis  de  Vos.  Baby.  Antwerp.  (In  high  chair  with  toys.) 
Two    little    daughters.     Berlin    Gallery. 

(Children  richly  dressed  seated  on  floor. 

Bewitching.) 

Dutch.  Seventeenth  century. 

Cuyp.  Boy's  head.    (Wearing  broad-brimmed  hat.) 
Maes.  Boy  with  hawk.  Wallace  Collection,  London. 
Frans  Hals.   Upenstein    Baby.     Berlin    Gallery.     (Richly 
dressed  baby  bubbling  over  with  laughter. 
In  arms  of  nurse.) 
Moreelse.  Princess.    Amsterdam.    (Half-length;  dressed  in 

stiff  corset.) 
Terburg.    Helen  van  Schalke.   Amsterdam.    (Cabinet  pic- 
ture. Full-length  figure.  Dressed  like  a  Quaker 
lady  with  reticule  over  arm.   Very  quaint.) 
Ver  Meer.    Girl's  head.  Hague.  (Wearing  turban.  Wonder- 
ful light  on  face.) 
Lirens.  Portrait  of  Boy.     Berlin. 

Spanish,  Seventeenth  century. 

Velasquez.  Princess  Margaret.  Louvre.  (Bust.) 

Las  Meninas.  Madrid  Gallery.  (Interior  with 
little  Princess  Margaret  in  center,  surrounded 
by  attendants.) 

Princess    Margaret.     Vienna    Gallery.     (Full- 
length  figure  similar  to  that  in  Las  Meninas.) 

Princess  Maria  Theresa.  Madrid  Gallery. 

Prince  Baltasar  Carlos  on  his  Pony.     Madrid 
Gallery. 

Prince  Baltasar  Carlos  (with  hunting  dog).  Mad- 
rid Gallery. 

Prince  Baltasar  Carlos  (with  dwarf).  Boston  Art 
Museum. 
Murillo.  Boy  at  window.  National  Gallery,  London. 


PICTURES  OF  CHILDREN  115 

French. 

Greuze.    Broken  Pitcher.   Louvre,  Paris. 

Child  with  apple.   National  Gallery,  London, 
(iirl  with  lamb.    National  Gallery,  London. 
Innocence.    Wallace    Collection,    London.    (Girl 
with  lamb.) 
Mme.    Le    Bnin.      Madame   Le  Brun   and    her  Daughter. 

Louvre. 
Girl  with  muff.    Louvre. 
Head  of  daughter.    Bologna  Gallery. 
Fragonard.    Head  of  child.   Wallace  Collection,  London. 

English,  Eighteenth  century. 

Reynolds.    Angel  heads.   National  Gallery. 

Age  of  Innocence.   National  Gallery. 
Infant  Samuel.   National  Gallery. 
Lady  Cockburn  and  children.  National  Gallery. 
Duchess  of  Devonshire  and  baby. 
Lady  Spencer  and  son. 
Simplicity. 

Miss  Bowles.   Wallace  Collection,  London. 
Strawberry  Girl.   Wallace  Collection,  London. 
Penelope  Boothby. 
Gainsborough.    Blue  Boy.    (Two  versions.   One  at  Grosve- 
nor  House,  London.   The  other  in  collec- 
tion of  Mr.  Hearn,  from  which  reproduc- 
tions have  been  made.    Full-length  figure 
in  landscape.   Dressed  in  blue  satin.) 
Eliza  Linley  and  brother.    Morgan  Collec- 
tion, New  York. 
Romney.    Gower  children.     (Four  little  girls  dancing  in  a 

circle.   Tall  girl  striking  tambourine.) 
Sir  Thomas  Laurence.    Calmady  children.    (Two  children's 

heads    in    circular    composition, 
sometimes  called  "Nature.") 

Miscellaneous. 

Manet.   Hoy    with    sword.     Metropolitan   Museum.     (Full- 
length.) 
Sully.    Boy  with  torn  hat.    Boston  Art  Museum.    (Bust.) 
Whistler.    Rose   of   Lyme.    Boston   Art  Museum.     (Half- 
length  of  little  girl.) 


116    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Sargent.  Bolt  children.  Boston  Art  Museum.  (Interior  with 
three  children.) 
Carnation  Lily,   Lily  Rose.     (Two  little  girls  in 
garden  lighting  Japanese  lanterns.) 
Burne-Jones.  Dorothy  Drew.    (Full-length  figure  of  little 

girl  seated.) 
Shannon.  Miss  Kitty.  Pittsburg.   (Full  length.) 
William  M.  Chase.    Alice.   Chicago  Art  Institute. 
Frank  Benson.   My  Daughter.   (Bust  portrait.) 
Bouguereau.   Sister  and  brother. 

The  Broken  Pitcher. 
George  de  Forest  Brush.  Mother   and   child.    Boston   Art 

Museum. 

Reference  Books:  — 

Alice  Meynell:  Children  of  the  Old  Masters:  Italian 
Schools.  London,  1903. 

A  quarto  volume  with  fifty-six  beautiful  plates.  An 
essay  in  nine  sections,  covering  about  seventy  pages 
and  discussing  the  old  Italian  interpretation  of  child 
life,  with  some  emphasis  on  the  work  of  the  Tuscan 
sculptors. 
Lorinda  Munsen  Bryant.  Famous,  Pictures  of  Real 
Boys  and  Girls.  London,  1912. 

Arranged   by   countries:   Italy,   Spain,   Germany, 
Holland,  Belgium,  France,  England,  and  America. 


STORY  PICTURES 

A  child's  love  of  stories  is  well-nigh  universal,  and 
no  argument  is  needed  to  prove  the  value  of  gratify- 
ing this  taste.  Whether  it  is  regarded  from  an  educa- 
tional standpoint,  as  a  training  for  the  mind,  or 
merely  taken  for  pure  amusement,  the  story  is  the 
child's  natural  pabulum.  How  pictures  may  facili- 
tate and  enrich  the  story-telling  process  I  have  tried 
to  explain  in  a  previous  chapter.  It  remains  to  make 
some  suggestions  in  regard  to  story-picture  material. 
For  as  there  are  stories  and  stories,  some  good  for 
children,  and  some  not,  so  there  are  pictures  and 
pictures,  from  which  to  choose.  Some  subjects  at- 
tract a  child  at  once,  and  others  make  no  impression 
on  him.  Some  which  appeal  to  him  with  an  obvious 
story  interest  may  be  wretched  specimens  on  the 
artistic  or  mechanical  side.  Some  which  interest  an 
older  person  very  much,  deal  with  themes  which  a 
child  is  incapable  of  grasping.  Worst  of  all,  some 
have  an  unwholesome  or  artificial,  sentimental  or 
silly,  story  to  tell.  On  the  whole,  it  is  much  better  to 
have  a  few  good  tilings  than  many  inferior  prints. 

In  one  sense  any  and  every  picture  is  a  story  pic- 
ture. An  active  imagination  may  weave  a  drama  out 
of  the  most  meager  material.  The  figure  of  an  animal, 
Landseer's  Newfoundland  Dog,  let  us  say,  may  sug- 


118    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

gest  all  sorts  of  exploits  to  form  an  endless  tale.  A 
portrait,  like  the  head  of  Van  Dyck's  Prince  Charles, 
may  be  the  starting-point  of  the  life-story  of  the 
Merry  Monarch.  This  story  use  of  the  picture  is 
perfectly  legitimate,  but  it  is  not  the  original  inten- 
tion of  the  artist.  A  real  story  picture  differs  from 
one  upon  which  a  story  may  be  based  as  the  Adora- 
tion of  the  Shepherds  differs  from  a  simple  Madonna, 
or  Boughton's  Pilgrims  going  to  Church  from  Stuart's 
portrait  of  George  Washington.  The  real  story  pic- 
ture is  dramatic  in  character  and  contains  a  story  by 
implication,  the  story  the  artist  meant  to  tell,  and  to 
draw  this  out  is  quite  another  matter  than  building 
one  of  our  own  upon  a  picture  not  designed  for  the 
purpose.  The  line  cannot  be  rigidly  drawn,  but  it 
seems  to  me  well  to  keep  the  distinction  clearly  in 
mind.  We  do  not  want  to  fix  the  "literary  habit" 
upon  a  child  so  that  every  picture  necessarily  means 
a  story  to  him.  In  a  real  story  or  anecdotic  picture, 
the  position  or  action  of  the  figures  and  the  acces- 
sories of  the  composition  all  point  out  a  story,  and  if 
the  artist  has  done  his  part,  we  ought  to  read  it 
easily. 

The  first  story  subjects  we  give  our  children  are 
naturally  those  dealing  with  child  life.  We  begin  by 
looking  for  pictures  illustrating  the  doings  of  the 
average  boy  and  girl  in  the  home,  with  his  playmates* 
and  in  the  great  outdoor  world.  Few  artists  have  in 
any  sense  specialized  in  these  lines,  and  we  pick  up 
our  material  among  scattered  examples  from  many 
countries  and  many  periods.   The  most  satisfactory 


THE   FRUIT   VI  ND1 
Munich  Gallery 


STORY   PICTURES  110 

pictures  of  this  sort  are  general  and  typical  in  char- 
acter rather  than  local  in  interest.  The  pood  old 
stories  which  have  been  retold  from  time  immemorial 
retain  their  hold  upon  us  because  they  deal  with  the 
typical  elements  of  human  nature  and  child  life. 
They  have  no  local  color  to  fix  the  time  and  place. 
So  with  story  pictures.  If  they  reach  the  heart  of 
child  life,  they  last  forever,  but  if  they  depend  too 
much  upon  transient  elements,  the  next  generation 
will  not  understand  them.  I  can  best  explain  my 
meaning  by  illustrations.  About  three  hundred  years 
ago  the  Spanish  artist  Murillo  painted  some  groups 
of  beggar  boys  playing  in  the  street.  They  were 
ragged  and  unkempt,  not  particularly  pretty  and  not 
over-clean,  but  they  were  full  of  the  joy  of  life. 
Happy-go-lucky  as  the  birds  of  the  air,  they  are  feast- 
ing on  melons  and  grapes,  and  kings  of  the  earth 
might  envy  them.  There  are  at  least  eight  of  these 
subjects,  the  best-known  being  the  group  in  the 
Munich  Gallery,  and  they  are  among  the  most  popu- 
lar and  delightful  pictures  in  the  world.  Though 
painted  three  centuries  ago  in  Seville,  you  can  find 
their  counterparts  to-day  in  the  streets  of  New  York, 
or  Boston,  or  Chicago.  To  the  end  of  time  boys  will 
flock  together  to  loaf  in  the  sun,  devour  stolen  fruit, 
and  play  games  on  the  ground.  Murillo's  pictures 
will  never  ueed  explanation  and  will  never  go  by. 
Now  many  story  pictures  wliieli  seem  very  funny  and 
clever  at  firsl  sight  lose  their  interesl  as  time  passes, 
because  the  details  are  t<><>  definitely  localized.  In  the 
latter  part  of  the  nineteenth  century  there  were  vari- 


120    HOW  TO  SHOW  PICTURES  TO  CHILDREN" 

ous  painters  whose  works  had  great  vogue,  but  which 
are  already  going  out  of  fashion.  Meyer  von  Bre- 
men's pictures  of  Swiss  child  life  and  J.  G.  Brown's  of 
New  York  newsboys  and  bootblacks  are  of  this  class. 
They  deal  with  local  customs  which  are  already 
passing.  We  speak  of  them  as  "old-fashioned";  but 
it  never  occurs  to  anybody  to  call  the  Spanish  Beggar 
Boys  old-fashioned.  Fashion  has  nothing  to  do  with 
them.  Nor  does  the  seventeenth-century  setting 
prevent  our  enjoyment  of  the  merrymaking  in  some 
of  Jan  Steen's  Dutch  pictures.  This  painter  did  more 
children's  subjects  than  seems  to  be  generally  known. 
We  debar,  of  course,  any  which  are  coarse  in  vein,  but 
scenes  of  simple  hilarity,  even  if  it  is  of  a  boisterous 
kind,  are  good  to  have.  Steen's  contemporary,  Peter 
de  Hooch,  is  at  opposite  poles  in  his  choice  of  sub- 
jects, gentle,  quiet,  refined,  and  poetic.  His  demure 
little  girls  helping  their  mothers  about  the  housework 
are  the  pattern  of  dutifulness.  One  can  scarcely 
imagine  them  doing  anything  naughty,  but  they  are 
not  too  prim  to  be  thoroughly  childlike  and  lovable. 
Among  modern  painters  the  French  Millet  and  the 
Dutch  Israels  seem  to  me  the  most  natural  and  spon- 
taneous in  their  delineations  of  children's  occupations 
and  amusements.  In  fact,  the  doings  of  country 
children  seem  to  make  a  wider  appeal  than  city  sub- 
jects. It  would  be  foolish  to  insist  that  a  child's  pic- 
tures should  be  only  those  which  have  stood  the  test 
of  years.  As  well  give  up  all  magazines  and  news- 
papers. It  is  well,  however,  to  keep  in  mind  the  differ- 
ence between  the  permanent  and  the  transient.   The 


STORY  nCTDBES  121 

pictures  which  we  select  as  birthday  and  Christmas 
gifts  for  our  little  ones,  pictures  to  keep  as  special 
treasures,  should  be  of  the  higher  order.  For  the  rest 
we  hail  gladly  any  child  pictures  with  pood  drawing, 
good  story  interest,  and  a  natural  rather  than  an  arti- 
ficial or  forced  situation. 

To  limit  a  child's  story  pictures  to  subjects  of  child 
life  would  be  a  mistake  which  no  wise  educator  is 
likely  to  make.  It  would  be  like  shutting  him  up  in  a 
Lilliputian  kingdom.  We  must  help  our  children  to 
grow  up,  and  pictures  are  an  invaluable  means  to  this 
end.  They  should  open  to  the  young  mind  many 
avenues  of  thought  and  enjoyment.  They  may  reflect 
the  life  of  the  workaday  world  about  us,  make  the 
past  vivid,  or  awaken  visions  of  the  fairyland  of 
fancy.  Sometimes  they  arouse  an  interest  in  some- 
thing we  should  not  otherwise  care  for  by  investing 
the  subject  with  the  glamour  of  art.  It  was  the  pecu- 
liar charm  of  the  seventeenth-century  Dutch  school 
to  interpret  homely  domestic  themes.  These  painters 
were  wonderful  realists  and  clever  story-tellers,  with 
good  dramatic  sense  and  much  humor.  Their  pic- 
tures suggest  to  the  quick  imagination  endless  stories 
of  everyday  life  —  the  goldsmith  weighing  his  gold, 
the  old  market-woman  haggling  over  her  fruit  and 
vegetables,  the  lady  at  her  piano,  or  the  cavalier  with 
his  lute.  We  look  into  the  parlor,  the  kitchen,  the 
chamber,  the  banquet-hall,  the  tailor's  shop,  the 
market,  and  the  inn,  and  imagine  all  sorts  of  pleasant 
things  about  the  occupants.  With  Gerald  Dow  and 
Maes  we  see  touching  scenes  among  the  poor,  the  old 


122    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

woman  saying  grace  over  her  frugal  meal,  or  working 
at  her  spinning-wheel.  With  Terburg  we  get  a 
glimpse  of  fashionable  life,  peeping  into  the  homes  of 
the  wealthy,  where  slender  ladies,  in  satin  gowns,  are 
completing  their  toilets,  playing  on  musical  instru- 
ments, or  engaged  in  polite  conversation.  A  French 
genre  painter  of  the  eighteenth  century,  whose  do- 
mestic subjects  are  closely  akin  to  those  of  the  Dutch 
school,  was  Chardin.  There  is,  however,  a  delicacy 
and  sentiment  about  his  work  which  distinguishes  it 
from  the  Dutch.  Even  his  cooks  and  housekeepers, 
with  their  coquettish  frilled  caps,  have  a  vein  of  the 
poetic  in  their  make-up. 

It  is  because  the  occupations  of  daily  life  appeal  so 
strongly  to  children  that  Millet  is  a  great  favorite 
with  them.  They  are  much  interested  in  the  simple 
French  peasant-folk  pursuing  their  common  tasks  in 
the  house  and  field.  The  sense  of  strength  and  effi- 
ciency in  these  figures  is  an  important  element  in  their 
attractiveness,  and  there  is  usually  a  placid  content  in 
labor  which  is  good  to  see.  They  take  their  tasks  seri- 
ously, almost  solemnly  sometimes,  as  if  performing  a 
religious  rite.  The  Potato  Planters  (man  and  woman) , 
the  Sheep-shearer,  the  Sower,  and  the  Gleaners  illus- 
trate these  qualities.  The  Angelus,  the  best-known, 
but  by  no  means  the  greatest,  of  Millet's  works,  rep- 
resents a  man  and  woman  in  the  field  at  the  close  of 
the  day's  labor,  bowing  in  prayer  at  the  sound  of  the 
Angelus  bell.  When  the  laborers  lack  facial  beauty, 
their  pose  is  as  majestic  as  Greek  sculpture.  The  Man 
with  the  Hoe,  notwithstanding  his  stupid  vacant 


STORY   PICTURES  123 

expression,  has  a  monumental  dignity  and  the  plain- 
faced  Milkmaid  is  as  graceful  as  a  caryatid.  The 
Churner's  beauty  is  in  her  vigorous  handling  of  the 
dasher,  and  her  satisfaction  in  the  results  of  her  work. 
Even  the  eat  who  rubs  up  against  her  feels  the  cheer- 
ful atmosphere  of  content  which  pervades  the  room. 
The  Little  Shepherdess  and  the  Woman  Feeding  Hens 
are  really  pretty  and  are  the  children's  special  favor- 
ites. A  wide  horizon  and  a  long  vista  are  other  fea- 
tures of  Millet's  pictures  which  make  them  restful 
and  uplifting.  One  does  not  weary  of  such  subjects.1 
Jules  Breton  is  another  French  painter  of  peasant 
labor  whom  the  children  love.  The  Song  of  the  Lark 
is  a  picture  of  a  young  woman  at  work  in  the  field, 
pausing  scythe  in  hand  to  listen  to  the  wondrous  bird 
at  which  she  gazes  transfixed.  As  in  Millet's  Angelus 
there  is  here  a  suggestion  of  the  idealism  which  light- 
ens toil.  Companion  figures  to  the  girl  of  the  Lark 
Song  is  the  Gleaner,  with  a  sheaf  of  wlieat  on  her 
shoulder,  and  the  Shepherd's  Star,  who  carries  a  big 
bundle  on  her  head.  Other  subjects  relate  to  the  close 
of  the  day's  labor,  like  the  End  of  Labor,  and  the 
Close  of  Day,  and  the  Return  of  the  Gleaners.  It  will 
be  noticed  that  not  one  of  these  subjects  shows  the 
actual  process  of  labor  as  in  Millet's  works.  Some 
other  French  pictures  to  include  in  this  group  have  to 
do  with  haymaking.  In  Bastien-Lepage's  Haymaker 
a  woman  sits  in  the  foreground  at  rest,  with  a  man 
stretched  full  length  behind  her.    Dupre's  Before  the 

1   All  the  pictures  here  referred   to  are  illustrations  in  the  volume 
on  Millet  in  the  Riverside  Art  Series. 


124      HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Storm  shows  the  haymakers  hastening  to  load  the 
wagon  under  a  cloudy  sky.  Adan's  End  of  Day  shows 
a  solitary  haymaker  tramping  across  the  field,  and 
in  L'Hermitte's  La  Famille  the  entire  family  group 
sits  in  the  hayfield  in  which  the  father  is  at  work. 
With  this  class  of  pictures  belongs  Ridgway  Knight's 
Calling  the  Ferry,  a  representation  of  French  country 
life  which  shows  the  splendid  physical  development 
of  the  women  who  live  and  work  out  of  doors. 

Horatio  Walker  is  an  American  painter  whose 
works  are  naturally  compared  with  those  of  Millet  as 
interpretations  of  farm  labors.  Such  subjects  as 
ploughing,  wood-cutting,  ice-cutting,  feeding  sheep, 
pigs,  and  turkeys  have  been  treated  very  vigorously. 
These  pictures  are  mostly  in  private  collections,  but  a 
few  are  available  as  reproductions.  For  the  most  part 
we  must  go  to  the  art  of  distant  lands  to  show  our 
children  the  primitive  tasks  of  life.  In  our  own  coun- 
try the  use  of  modern  machinery  and  the  life  of  the 
factories  have  for  the  time  being  removed  the  sub- 
jects of  labor  from  the  field  of  art.  It  is  for  the  artists 
of  the  future  to  interpret  American  industrial  life  in 
its  modern  form. 

The  story  of  the  whaling  industry,  now  rapidly 
becoming  a  thing  of  the  past,  was  the  special  subject 
of  the  American  painter,  William  Bradford,  some  of 
whose  works  have  been  reproduced  in  prints  for 
schoolroom  decoration.  The  Arctic  Whaler  and 
Homeward  Bound  are  of  this  class.  In  more  recent 
times  Winslow  Homer  has  done  more  than  any  other 
artist,  perhaps,  to  show  us  the  lives  of  the  toilers  of 


STORY  PICTURES  U5 

the  sea.  In  the  Boston  Art  Museum  are  two  of  his 
famous  pictures.  In  one  we  see  the  sailor  at  the  look- 
out calling,  "All's  well,"  as  the  bell  behind  him 
swings  out  its  measure  of  the  hour.  In  the  Fog  Warn- 
ing a  fisherman  in  a  dory  pulls  a  strong  oar  to  race 
With  the  fog  which  is  just  rising  above  the  horizon. 
The  Gulf  Stream  in  the  Metropolitan  Museum  is  in 
a  more  tragic  vein,  where  a  wrecked  fishing-boat  is 
rolling  in  the  trough  of  a  heavy  sea.  Another  very 
thrilling  and  more  cheerful  subject  is  the  Life  Line. 
Across  the  surging  waters  the  rescuer  carries  his 
human  burden,  swinging  from  the  cable  on  which  they 
are  both  drawn  to  safety. 

Nearly  all  boys  like  pictures  of  ships  which  suggest 
romantic  adventure.  Turner's  Fighting  Temeraire  is 
a  great  historic  masterpiece  which,  rightly  read,  tells 
a  thrilling  tale  of  naval  prowess.  A  stately  old  battle- 
ship, no  longer  fit  for  service,  is  towed  to  its  last 
anchorage  by  a  steaming  little  tug.  A  glorious  sky 
gives  dignity  and  distinction  to  the  event,  like  a 
triumphal  funeral  march.  The  frigate  Constitution, 
"Old  Ironsides,"  corresponds  to  the  Temeraire  in  our 
own  American  history,  and  this  has  been  painted  by 
a  contemporary  artist,  Marshall  Johnson,  in  two 
subjects,  one  showing  the  ship  in  full  sail  alone,  and 
the  other  showing  the  victorious  frigate  in  contrast  to 
the  dismantled  Guerriere.  A  few  other  sea  subjects 
are  in  our  list. 

A  fascinating  class  of  story  pictures,  and  one  which 
is  very  conspicuous  in  the  art  of  the  old  masters,  is 
that  dealing  with  the  lives  of  the  saints,  heroes,  and 


126     HOW  TO  SHOW  PICTURES  TO  CHILDREN 

martyrs  of  Christianity.  Here  are  some  thrilling  dra- 
matic situations,  and  incidentally  a  "moral"  which 
is  plain  enough  to  need  no  pointing  out.  I  have  pre- 
viously spoken  of  the  group  of  legends  symbolizing 
the  triumph  of  good  over  evil,  the  most  important 
subjects  being  St.  Michael  and  St.  George.  St 
Margaret  is  the  maiden  counterpart  of  St.  George. 
A  wicked  king  had  cast  her  into  a  dungeon  where  a 
dragon  appeared  and  devoured  her.  Whereupon  he 
burst  open  and  she  stepped  forth  unharmed  and 
radiant,  just  as  we  see  her  in  Raphael's  charming 
picture  in  the  Louvre. 

The  gentle  St.  Francis,  who  preached  to  the  birds, 
called  all  the  beasts  his  brethren,  and  went  about 
doing  good,  is  a  character  whom  children  should  be 
taught  to  love.  The  church  at  Assisi  is  full  of  quaint 
decorations  by  Giotto  and  other  early  Italians  illus- 
trating the  life  of  the  Saint.  Some  of  these  are  very 
acceptable  to  children,  but  we  need  not  go  so  far 
afield  for  the  material,  since  Boutet  de  Monvel  has 
given  us  the  whole  story  in  the  series  of  designs  for 
"Everybody's  St.  Francis."  The  story  of  St.  Anthony 
of  Padua,  to  whom  a  vision  of  the  Christ-child  was 
vouchsafed,  makes  a  very  tender  picture  which 
touches  a  child's  heart  readily.  This  was  a  favorite 
subject  with  Murillo,  and  in  many  schools  and  homes 
prints  are  to  be  seen  from  the  Spanish  painter's 
works,  showing  the  good  man  kneeling  with  the 
precious  babe  in  his  arms.  St.  Christopher  wading 
through  the  stream  with  the  Christ-child  on  his 
shoulder  is  another  favorite  picture  subject  with  the 


lit, an 


!)•[<' i   Pa.  . 


SAINT  I'HRIs  lol'HER 


STORY  PICTURES  127 

children.  They  love  to  hear  how  the  giant  buffeted 
with  the  storm-tossed  waters,  as  his  burden  grew 
heavier  and  heavier,  till  lie  set  the  child  safely  on  the 
farther  bank  and  Karned  that  he  had  been  carrying 
the  Maker  of  the  world. 

Of  St.  Cecilia,  whose  music  drew  the  angels  down 
from  heaven  to  listen,  of  St.  Ursula,  who  voyaged  to 
distant  shrines  with  ten  thousand  maiden  attendants, 
and  of  St.  Genevieve,  the  little  French  shepherdess 
whose  name  is  revered  in  Paris,  we  also  have  many 
attractive  story  pictures. 

From  legend  to  allegory  is  but  a  step,  and  allegory 
is  very  common  as  a  subject  of  mural  decoration  in 
public  buildings.  Such  pictures  are  often  very  inter- 
esting and  suggestive  to  children  if  properly  ex- 
plained, and  possess  a  certain  kind  of  story  quality. 
The  works  of  Puvis  de  Chavannes  in  the  Boston 
Public  Library  are  particularly  appropriate  for 
school,  as  they  illustrate  various  branches  of  learning. 
The  subjects  in  the  Congressional  Library,  at  Wash- 
ington, are  widely  circulated  and  extremely  popular 
for  schoolroom.  I  refer  to  these  more  particularly  in 
making  recommendations  for  "The  Use  of  Pictures  in 
the  Schoolroom."  In  that  chapter,  too,  are  included 
the  story  pictures  which  illustrate  subjects  of  chiv- 
alry, classic  mythology,  and  history. 

Of  all  the  world  stories  none  is  so  important  reli- 
giously or  educationally  as  the  story  of  the  life  of 
Jesus.  The  subject  has  been  the  inspiration  of  the 
noblest  art  of  past  centuries,  so  that  no  one  can  in  any 
measure  understand  the  history  of  painting  without 


128    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

studying  this  class  of  pictures.  Happily  all  this 
material  is  available  in  many  forms  of  prints  illus- 
trating the  complete  life  from  the  promise  of  the 
angel  to  the  ascension  from  Mount  Olivet. 

List  of  Story  Pictures 

Stories  of  child  life. 

Murillo.  Beggar    Boys.     Munich.     (Two    ragged    urchins 

seated  by  ruined  wall,  eating  grapes  and  melons.) 

Beggar  Boys.    Munich.    (Two  boys  seated  on  a 

stone,  eating,  with  dog.) 
Fruit- Venders.    (Boy  and  girl  with  fruit  baskets 

seated  on  ground  counting  earnings.) 
Dice-players.  Munich.   (Two  urchins  playing  dice 
on  flat  stone.   Child  and  dog  watching.) 
Chardin.    Grace  before  Meat.   Louvre.    (Two  little  girls  at 
table.    Mother  standing  over  them  directing 
them  to  give  thanks.) 
i  Jan  Steen.  Feast  of   St.   Nicholas.     Amsterdam.     (Dutch 
interior  with  family  group  on  Christmas  Eve, 
the  children  discovering  the  gifts  in  their  shoes. 
Boy  crying  to  find  switch  instead  of  gift.   Very 
merry  scene.) 
The  Cat's  Dancing-Lesson.  Amsterdam.  (Dutch 
interior.     Merry    group    about   a   table    on 
which  a  boy  holds  the  cat  upright  on  hind 
legs.  A  girl  plays  accompaniment  on  flute  and 
dog  barks.   Homely,  simple  amusement.) 
Christening  Feast.    (Dutch  interior,  with  many 
figures.   Baby  in  cradle  at  left;  little  boy  and 
girl  dancing  at  right.) 
Millet.    Feeding  her  Birds.   (Doorway  of  cottage  with  three 
children  seated  on  sill,  fed  by  mother  from  bowl.) 
The   First   Step.     (Dooryard.     Mother   steadying 
baby  who  tries  to  toddle  toward  father  kneeling 
at  a  distance  with  outstretched  arms.) 
Knitting-Lesson.     (Old   woman   teaching  tiny  girl 
how  to  manage  knitting-needles.) 
Millais.    For  the  Squire.   (Little  girl  in  quaint  quilted  sun- 
bonnet  carrying  letter.) 


STORY  PICTURES  1*9 

Millais.    Princes  in  Tower.    (Illustrating  historical  incident 
of  murder  of  sons  of  Edward  IV.    Two  hoys 
nlingiwg  together  on  stairway,  hearing  approach 
of  murderer.) 
Sir  Lsumbras  at  the  Ford.    (A  noble  presentation  of 
an  aged  knight  riding  ;i  splendid  horse,  with  two 
little  children,  a  girl  and  a  hoy,  whom  he  is 
carrying  across  the  stream.) 
Boyhood  of  Raleigh.    (Two  children  sitting  near 
the  beach,  one,  the  boy  Raleigh,  listening  to  the 
tales  of  a  tramp  sailor  who  points  across  the  sea.) 
Israels.  Little   Brother.     (At    the   seashore.     Boy   wading 
ashore  carrying  small  child  pickaback.) 
Interior  of  a  cottage.    (Mother  sitting  by  cradle 

watching  baby.) 
Little  seamstress.    (Little  girl  sewing.) 
Boy  sailing  a  boat. 
Blommers.  Little  Shrimp  Fishermen.   (Group  of  children  in 

shallow  water  dragging  for  fish.) 
Curran.    Children  catching  minnows. 

Meyer  von  Bremen.    Little    Brother.      (Cottage    interior. 

Mother  standing  with  young  babe 

in  her  arms  stooping  to  show  him  to 

children.) 

The  Pet  Bird.    (Swiss  interior.    Four 

children   gathered   about  table  on 

which  is  open  cage.    Bird  perched 

on  boy's  finger.) 

Renouf.    The  Helping  Hand.    (Open  boat  with  old  sailor  at 

oars,  a  little  girl  putting  her  hand  over  his  to  help.) 

Leighton.  The  Music-Lesson.   (Young  mother  and  daughter 

seated  side  by  side  playing  lute.) 
T.  C.  Gotch.  Pageant  of  Childhood.    Liverpool   Museum. 
(Procession  of  boys  and  girls  in  costume, 
marching  by  twos,  graded  in  size.) 
T.  Couture.  Day-Dreams.    Metropolitan    Museum,     (Boy 
seated    at    table,    leaning    back    in    reverie, 
holding  pipe  from  which  he  has  been  blowing 
bubbles.) 
P.  A.  Cot.    Paul  and   Virginia  (also  called    the    "Storm") 
Metropolitan      Mnsnuin       (Illustrating    the 
story   by   Bernardin   de  Saint-Pierre.     Youth 
and  maiden  fleeing  before  the  storm.) 


130    HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Kever.   Sewing-School.  (Two  rows  of  little  girls  in  chairs  out- 
side cottage,  bending  assiduously  to  their  sewing 
tasks.) 
Kaulbach.   The    Pied    Piper.     Illustration    of    Browning's 
poem.  (Courtyard  with  flight  of  stone  steps  up 
which  a  crowd  of  merry  children  are  rushing  in 
pursuit  of  the  piper.) 
Elizabeth  Gardner.    Two   Mothers.     (Young    mother   and 

child,  hen  and  chicks.) 
Three  Friends.    (Two  little  girls  and 
calf.) 
Peter  de  Hooch.  Interior,   Metropolitan   Museum.     (Little 
girl  bringing  jug  into  house  from  outer 
door.   Mother  seated  within.   Dog.) 
Storeroom.    Amsterdam.    (Little  girl  and 

mother.) 
Courtyard.     National.    Gallery,    London. 
(Mother  and  little  girl  hand  in  hand.) 
Plockhorst.   Christ  Blessing  Little  Children.    (The  Saviour 
seated  with  group  of  children  pressing  about 
him.) 
Titian.   Tobias  and  the  Angel.   S.  Marziale,  Venice.    (Illus- 
trating story  in  Apocrypha.  Boy  led  by  angel  and 
accompanied  by  dog.    Child  carries  fish  for  his 
father.) 
Presentation  of  Virgin  in  Temple.  Venice  Academy. 
(Child  Mary  walking  up  long  flight  of  Temple 
steps,  at  top  of  which  High  Priest  is  standing. 
Many  spectators.) 
Tintoretto.    Presentation  of  Virgin  in  Temple.    S.  Maria 
dell'  Orto,  Venice.  Same  subject  as  above  in 
different  composition. 

Miscellaneous  story  subjects  of  home  and  outdoor  life. 

Gerard  Dou.   Poulterer's  Shop.    National  Gallery,  London. 
(Young     lady     bargaining     with     market- 
woman  for  hare.) 
Spinner's  Dream.   Munich.    (Old  woman  say- 
ing grace  at  meal.) 
Maes.  Old  woman  spinning.   Amsterdam. 
Old  woman  paring  apples.    Berlin. 
Terburg.    Lady  washing  her  hands.  Dresden  Gallery. 


STORY  PICTTTIES 


131 


Terburg.    The  Concert.    Berlin.    (Two  ladies,  at  violin  and 

'cello. ) 

Woman  peeling  apples.  Vienna  Gallery.  (A  pert- 
looking  little  girl  stands  behind  table,  with  very 
modern  wide-brimmed  hat.) 

Venneer.    Woman  at  Casement.    Metropolitan  Museum. 
Woman  jKturing  milk  from  jug.   Amsterdam. 
Lacemaker.   Louvre. 
Chardin.    The  Cook.  Lichtenstein  Gallery.  Vienna.  (Young 
woman  seated,  with  vegetables  on  floor  and  in 
dish  beside  her.) 
The  Housekeeper,  or  "Home  from  the  Market." 
Louvre.      (Young     woman     leaning     against 
heaped-up  serving-table,  and  carrying  a  large 
sack  of  provisions.) 
Millet.    Potato-Planters. 
Woman  churning. 
Sheep-Shearer. 
The  Sower. 
The  Gleaners. 
The  Angelus. 
The  Shepherdess. 
Woman  feeding  Hens. 
Goinp  to  Work. 
Breton.    Song  of  the  Lark.   Chicago  Art  Institute. 
The  Gleaner.   Luxembourg,  Paris. 
The  Return  of  the  Gleaners.    Luxembourg.    (Full 
of  life  and  action.) 
Horatio  Walker.  Spring  Ploughing. 

The  W<x>dcutters.  St.  Louis  Art  Museum. 
Bastien-Lepage.   Haymakers. 
Dupre.    Before  the  Storm. 
Adan.  End  of  Day. 

L'Hermitte.  La  Famine.  Buffalo.  (Hayfield,  father  at  work, 
mother  and  babe,  little  girl  and  grandmother 
seated  on  ground.) 
Ridgway  Knight.   Calling  the  Kerry. 


Sea  Subject*. 

William  Bradford. 

Winslow  Homer. 


Arctic  Whaler. 
Homeward  Bound. 
Lookout.   Boston  Art  Museum. 


132     HOW  TO  SHOW  PICTURES  TO  CHILDREN 

Winslow  Homer.    Fog  Warning.   Boston  Art  Museum. 
Gulf  Stream.   Metropolitan  Museum. 
Life  Line. 
Turner.    The  Fighting  Temeraire.    National  Gallery,  Lon- 
don. 
Marshall  Johnson.   The  Constitution. 

The  Constitution  and  Guerriere. 
Mauve.    By  the  Sea.    (Hull  of  a  dismantled  ship  drawn  on 

the  shore  by  horses.) 
Sadee.    Portion  of  the  Poor.    (Women  and  children  in  shal- 
low water  picking  up  small  fish  cast  away  from 
the  newly  arrived  fishing-vessel  near  by.) 

Illustrations  of  legends. 

Raphael.    St.  George  and  the  Dragon.    National  Gallery, 

London. 
Tintoretto.    St.  George  and  the  Dragon.  National  Gallery, 

London. 
Carpaccio.  St.    George   and    the   Dragon.     Church   of   S. 

Giorgio,  Venice. 
Raphael.    St.  Margaret  and  the  Dragon.   Louvre,  Paris. 
Raphael.    St.  Michael  and  the  Dragon.   Louvre,  Paris. 
Guido  Reni.    St.    Michael    and    the   Dragon.     Church   of 

Cappuccini,  Rome. 
Van  Dyck.    St.  Martin  dividing  his  cloak  with  a  beggar. 
(Illustration    in    Van   Dyck,   Riverside   Art 
Series.) 
Murillo.  Vision  of  St.  Anthony.  Berlin  Gallery. 

Vision  of  St.  Anthony.   Seville  Cathedral. 
Vision  of  St.  Anthony.   St.  Petersburg. 
Van  Dyck.    Vision  of    St.  Anthony.    (Illustration  in  Van 

Dyck,  Riverside  Art  Series.) 
Titian.    St.  Christopher.   Doge's  Palace,  Venice. 
Raphael.    St.  Cecilia.   Bologna  Gallery. 
Carpaccio.  Story  of  St.  Ursula  in  series  of  paintings  in  Venice 
Academy.  Special  favorite:  The  Dream  of  St. 
Ursula. 
Puvis  de  Chavannes  and  others.  Life  of  St.  Genevieve,  in 
decorations  of  the  Pantheon,  Paris. 


APPENDIX 


APPENDIX 

LISTS   OF    BOOKS    FOR   A   WORKING   LIBRARY    IN 

ART   STUDY 

Note:  A  collection  of  books  for  art  study  should  contain:  (1) 
a  general  handbook  of  the  art  of  every  country;  (2)  separate 
monographs  devoted  to  the  work  of  those  individual  artists 
selected  for  study. 

Both  classes  of  books  are  of  two  kinds:  (l)  the  brief  outline 
which  simplifies  and  popularizes  the  subject,  (2)  the  exhaustive 
special  treatise,  representing  a  study  of  original  sources. 

The  following  two  lists  are  made  up  with  these  distinctions 
in  mind. 

List  I  —  For  General  Readers 

GENERAL    HISTORIES 

Mrs.  Jameson.  Early  Italian  Painters.  Revised  and  in  part 
rewritten  by  Estelle  M.  Hurll. 

H.  II.  Powers.   Mornings  with  the  Masters. 

Symonds.   Renaissance  in  Italy.   Volume  on  the  Fine  Arts. 

Julia  Cartwright.    The  Painters  of  Florence. 

Sir  Walter  Armstrong.  Art  in  Great  Britain  and  Ireland. 

Sir  Gaston  Maspero.  Art  in  Egypt. 

Louis  Hourticq.   Art  in  France. 

Comm.  Ricci.   Art  in  Xorthern  Italy. 

Marcel  Dieulafoy.     Art  in  Spain  and  Portugal. 

Max  Rooses.    Art  in  Flanders. 

Tin-  last  seven  books  are  issued  in  the  "General  His- 
tory of  Art  "  M-ries. 

Eugene  Fromentin.    Old  Masters  <>f  Belgium  and  Holland. 
Translated  by  Mary  C.  Bobbins. 

Charles  EL  Caffin.  Story  qf  Spanish  Painting. 

Charles  II.  Caffin.    Story  of  French  Painting. 


136  APPENDIX 

John  La  Farge.    The  Higher  Life  in  Art.    (Treating  the 

French  painters  of  Barbizon  school.) 
Charles  H.  Caffin.   Story  of  Dutch  Painting. 
Charles  H.  Caffin.  Story  of  American  Painting. 
Isham.  History  of  American  Painting. 
G.  H.  Marius.    Dutch  Painters  of  the  Nineteenth  Century. 

Translated  by  Alexander  de  Matteo. 

POPULAR  ILLUSTRATED  BOOKS 

John  La  Farge.  Hundred  Masterpieces. 

Esther  Singleton's  compilations:  Great  Pictures,  and 
Famous  Paintings. 

Charles  Barstow.   Famous  Pictures. 

Henry  T.  Bailey.    Twelve  Great  Paintings. 

The  Children  s  Book  of  Art,  by  Agnes  Ethel  Conway  and 
Sir  Martin  Conway.  London,  1909.  (The  selections  are 
chiefly  from  the  National  Gallery  and  from  private  col- 
lections in  England.) 

BOOKS   ON    SEPARATE    ARTISTS 

Series:  The  Great  Masters  in  Painting  and  Sculpture. 
Edited  by  G.  C.  Williamson.  (Short  biographical  and 
critical  monographs  by  reliable  critics,  carefully  worked 
out,  and  made  especially  valuable  by  complete  descrip- 
tive lists  of  the  artists'  works.    Well  illustrated.) 

Riverside  Art  Series.  By  Estelle  M.  Hurll.  Twelve 
volumes.  (Each  volume  contains  sixteen  selected  illus- 
trations of  an  individual  artist  with  simple  descriptive 
commentary.  A  biographical  outline  and  an  essay  sum- 
ming up  the  artist's  character  and  place  in  art  history 
are  special  features.) 

List  II  —  For  Serious  Students 

GENERAL   HISTORIES 

Vasari.    Lives  of  the  Painters  (Italian).    In  four  volumes. 

Edited  by  E.  H.  and  E.  W.  Blashfield  and  A.  A.  Hopkins. 

The  original  source  of  all  our  information  about  the 


APPENDIX  137 

old  Italian  masters.  Broughl  up  to  date  with  corrections 

and  valuable  critical  commentary. 
Crowe  and  Cavalcaselle.    History  of  Painting  in   Italy. 

Edited  by  Bdward  Hutton.   In  three  volumes. 
Kugler.  Handbook  of  the  Italian  Schools.  Revised  by  A.  II. 

Layard.   In  two  volumes. 
Sir   William   Stirling-Maxwell.     Annals   of  the  Artists   of 

Spain. 
Kugler.     Handbook  of  the  German,   Flemish,   and  Dutch 

Schools.   Revised  by  J.  A.  Crowe.   In  two  volumes. 
Clara  Cornelia  Stranahan.   History  of  French  Painting. 
W.  C.  Brownell.   French  Art. 
Allan  Cunningham.    Lives  of  the  Most  Eminent  British 

Painters.   Revised  by  Mrs.  Charles  Heaton. 

BOOKS    ON   SEPARATE    ARTISTS 

Symonds.    Michelangelo  Buonarotti. 

Eugene  Miintz.   Leonardo  da  Vinci. 

Eugene  Miintz.    Raphael. 

Corrado  Ricci.   Correggio. 

Claude  Phillips.    Titian. 

Char',   s  B.  Curtis.    \  clasquez  and  Murillo. 

C    "1  Justi.    Velasquez. 

R.  A.  M.  Stevenson.  Velasquez.  (In  series,  "Great  Mas- 
ters of  Painting  and  Sculpture."  Very  original  and 
remarkable.) 

Lionel  Cust.   Albert  DUrer,  A  Study  <>f  His  Life  and  Work. 

Emile  Michel.  Rembrandt;  His  Life,  His  Work,  His  Time. 
Translated  by  Florence  Simmonds. 

Gerald  Stanley  Davies.   Frans  Hals. 

Emile  Michel.    Rubens;  His  Life,  His  Work,  His  Time. 

Lionel  Cust.    Van  Dyck. 

Sir  Walter  Armstrong.    Reynolds, 

Thomas  Humphrey  and  William  Roberts.   Romney. 

Sir  Walter  Armstrong.  Gainsborough. 

Julia  ( 'artwrL'ht.    Millet. 

Rene  Peyrol.   /»'-  i  8  "//'■?/ r. 

John  Guille  Millais.    Sir  J  (din  MUlais's  Life  and  Letter--. 


138  APPENDIX 

Malcolm  Bell.   Burne-Jones:  A  Record  and  a  Review. 
Emilie  Isabel  Barrington.  Sir  Frederick  Leighton:  The  Life, 

Letters,  and  Work. 
Mary  S.  Watts.  George  Frederick  Watts.   The  Annals  of  an 

Artist's  Life.  His  Writings. 


12   volumes.    Each,   Library  Binding,  75  cents,  net,  postage  extra.     School 
I ■  Jitiott,    50  cents,  net,  postpaid. 

RA1  O^AlLL    edited  by  estelle  m.  hurll 

Introduction 

I.    On  Raphael's  Character  as  an  IV.    Collateral  Reading  from  Liter- 
Artist,  ature. 
II.    On  Books  of  Reference.                  V.    Outline  Table  of  the  Principal 
III.    Historical    Directory    of    the  Events  in  Raphael's  Life. 

Pictures  of  this  Collection.  VI.    Raphael's  Contemporaries. 

Pictures  with  Interpretative  Text 

The  Madonna  of  the  Chair.  St.  Cecilia. 

Abraham  and  the  Three  Angels.  The  Transfiguration. 

The  Miraculous  Draught  of  Fishes.  Parnassus. 

The  Sacrifice  at  Lystra.  Socrates  and  Alcibiades. 

Heliodorus  Driven  from  theTemple.  The  Flight  of  .(Eneas. 

The  Liberation  of  Peter.  St.  Michael  Slaying  the  Dragon. 

The  Holy  Family  of  Francis  I.  The  Sistine  Madonna. 

St.  Catherine  of  Alexandria.  Portrait  of  Raphael  (frontispiece). 

Pronouncing  Vocabulary  of  Proper  Names  and 

Foreign  Words 

IVLLiMiilxA  IN  D   1       BY  ESTELLE  M.  HURLL 

Introduction 

I.    On  Rembrandt's  Character  as      IV.    Outline  Table  of  the  Principal 
an  Artist.  Events  in  Rembrandt's  Life. 

II.    On  Books  of  Reference.  V.    Some  of  Rembrandt's  Famous 

III.    Historical  Directory  of  the  Pic-  Contemporaries  in  Holland, 

tures  of  this  Collection.  VI.    Foreign  Contemporary  Paint- 

ers. 

Pictures  with  Interpretative  Text 

Jacob  Wrestling  with  the  Angel.  Christ  at  Emmaus. 

Israel  Blea  ling  the  Sons  of  Joseph.  Portrait  of  Sa.skia. 

Angel  Raphael  leaving  the  Family  Sortie  of  the  Civic  Guard. 

of  Tobit.  Portrait  of  Jan  Six  (etching). 

The  Rat  Killer  (etchinq).  Portrait  of  an  Old  Woman. 

The  Philosopher  in  Meditation.  The  Syndics  of  the  Cloth  Guild. 

The  Good  Samaritan  (etching).  The  Three  Trees  (etchin 

The  Presentation  in  the  Temple.  Portrait    of     Rembrandt     (frontl* 
Christ  Preaching  (etching).  piece). 

Pronouncing  Vocarulary  of  Proper  Names  and 

Foreign  Words 


**  Contents  anU  Illustrations  oe 
MICHELANGELO  £?^brylelstelle 

Introduction 

I.   On   Michelangelo's  Character  V.   Outline  Table  of  the  Principal 

as  an  Artist.  Events     in      Michelangelo's 

II.   On  Books  of  Reference.  Life. 

III.  Historical    Directory    of    the  VI.    Some   of    Michelangelo's    Fa- 

Works  of  Art  in  this  Collec-  mous     Italian    Contempora- 

tion.  ries. 

IV.  Collateral  Readings  from  Lit- 

erature. 

Pictures  with  Interpretative  Text 

Madonna  and  Child.  Daniel. 

David.  The  Delphic  Sibyl. 

Cupid.  The  Cuma^an  Sibyl. 

Moses.  Lorenzo  De'  Medici. 

The  Holy  Family.  Tomb  of  Giuliano  De'  Medici. 

The  Pieta.  Central    Figures   from    The    Last 

Christ  Triumphant.  Judgment. 

The  Creation  of  Man.  Portrait  of   Michelangelo   (frontis- 

Jeremiah.  piece). 

Pronouncing  Vocabulary  of  Proper  Names  and 

Foreign  Words 

JEAN  FRANCOIS  MILLET 

no.  4.   by  estelle  m.  hurll 
Introduction 

I.   On   Millet's   Character  as  an     IV.   Outline  Tables  of  the  Principal 
Artist.  Events  in  Millet's  Life. 

II.   On  Books  of   Reference.  V.   Some  of  Millet's  Associates. 

III.    Historical    Directory    of    the 
Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

Going  to  Work.  Feeding  her  Birds. 

The  Knitting  Lesson.  The  Church  at  Greville. 

The  Potato  Planters.  The  Sower. 

The  Woman  Sewing  by  Lamplight.     The  Gleaners. 

The  Shepherdess.  The  Milkmaid. 

The  Woman  feeding  Hens.  The  Woman  Churning. 

The  Angelus.  The  Man  with  the  Hoe. 

Filling  the  Water-Bottles.  Portrait  of  Millet  (frontispiece). 

Pronouncing    Vocabulary  of   Proper  Names  and 

Foreign  Words 


*»  Contents  ant>  Illustrations  <* 
SIR    JOSHUA    REYNOLDS 

No.  5.     BY  ESTELLE  M.  HURLL 

Introduction 

I.  On  the  Art  of  Reynolds.  IV.    Outline  Table  of  the  Principal 
II.    <  >n  Books  of  Reference.  Events  in  Reynolds's  Life. 

III.    Historical     Directory    of    the  V.   Contemporaries. 
Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

Penelope  Boothby.  Lord  Heathficld. 

Master  Crewe  as  Henry  VIII.  Mrs.    Payne-Galhvey   and    Child  — 

Lady  Cockburn  and  her  Children.  ("  Pickaback  "). 

Miss  Howies.  Cupid  as  Link  Boy. 

Master  liunbury.  Lavinia,  Lady  Spencer. 

Mrs.  Siddons  as  The  Tragic  Muse.  The  Strawberry  CirL 

Angels'  Heads.  Dr.  Samuel  Johnson. 

The  Duchess  of  Devonshire  and  her  Portrait   of    Sir    Joshua   Reynolds 

Child.  (frontispiece). 
Hope. 

jVlL  IvILL/O     NO.  6.     BY  ESTELLE   M.    HURLL 

Introduction 

I.     On  Murillo's  Character  as  an  IV.     Outline  Table  of  the  Princi- 

Artist.  pal    Events    in     Murillo's 

II.     On  Books  of  Reference.  Life. 

III.     Historical   Directory  of    the  V.     Contemporary  Painters. 
Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

The  Immaculate  Conception.  The  Holy  Family. 

The  Angels'  Kitchen.  The  Fruit  Venders. 

Boy  at  the  Wind  The  Vision  of  St.  Anthony. 

The  Adoration  of  the  Shepherds.  St.  Roderick. 

The  Madonna  and  Child.  Y.uth's  Head. 

Rebekah  and  I.lie/er  at  the  Well.  St.    Elizabeth  of   Hungary  ("The 

The  Dice  ['layers.  Leper"). 

The  Education  of  the  Virgin.  Portrait  of  Murillo  (frontispiece). 
Jesus  and  John  ("The  Children  of 
the  Shell  "). 

Pronouncing   Vocabulary   of   Proper   Names    and 

Foreign  Words. 


g  Contents  anti  Illustrations  g 
GREEK  SCULPTURE 

No.  7.     BY  ESTELLE  M.  HURLL 

Introduction 

I.  On    some    Characteristics    of     III.     Historical    Directory   of    the 

Greek  Sculpture.  marbles  reproduced  in  this 

II.  On  Books  of  Reference.  Collection. 

Pictures  with  Interpretative  Text 

Bust  of  Zeus  Otricoli.  Sophocles. 

Athena  Giustiniana  (Minerva  Med-  Ares  seated. 

ica).  Head  of  the  Olympian  Hermes. 

Horsemen     from     the     Parthenon  The     Discobolus     (The      D  i  s  k  * 

Frieze.  Thrower). 

Bust  of  Hera  (Juno).  Aphrodite  of  Melos  (The  Venus  of 
The  Apoxyomenos.  Milo). 

Head  of  the  Apollo  Belvedere.  Orpheus  and  Eurydice. 

Demeter  (Ceres).  Nike  (The  Winged  Victory). 

The  Faun  of  Praxiteles.  Pericles  (frontispiece). 

Pronouncing  Vocabulary  of  Proper  Names  and 

Foreign  Words 

1   1    1   1 A  JN       No.  8.     BY  ESTELLE  M.  HURLL 

In  troduction 

I.     On  Titian's  Character  as  an     IV.     Outline  Table  of  the  Principal 
Artist.  Events  in  Titian's  Life. 

II.  On  Books  of  Reference.  V.     Some  of    Titian's  Contempo- 

III.  Historical    Directory  of    the  raries. 

Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

The  Physician  Parma.  The  Bella. 

The    Presentation    of    the    Virgin     Medea  and  Venus. 

(detail).  The  Man  with  the  Glove. 

Empress  Isabella.  The    Assumption     of    the    Virgin 
Madonna  and  Child  with  Saints.  (detail). 

Philip  II.  Flora. 

St.  Christopher.  The  Pesaro  Madonna. 

Lavinia.  St.  John  the  Baptist. 

Christ  of  the  Tribute  Money.  Portrait  of  Titian  (frontispiece). 

Pronouncing  Vocabulary  of  Proper  Names  and 

Foreign  Words 


&  Contents  anti  Illustrations  ^ 

~    

JL/AJN  JDolLlLiV    NO.  9.    BY  ESTELLE  M.  HURLL. 

Introduction 

I.     On   Landseer's  Character  as  IV.     Outline  Table  of  the  Principal 

an  Artist.  Events  in  Landseer's  Life. 

II.     On  Books  of  Reference.  V.     Some  of  Landseer's  Contem- 

III.     Historical    Directory   of    the  poraries. 
Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

King  Charles  Spaniels.  A  Naughty  Child. 

Shoeing.  The  Sleeping  Bloodhound. 

Suspense.  The  Hunted  Stag. 

The  Monarch  of  the  Glen.  Jack  in  Office. 

The  Twa  Dogs.  The    Highland    Shepherd's    Chief 

ity  and  Impudence.  Mourner. 

Peace.  A  Lion  of  the  Nelson  Monument. 

War.  The  Connoisseurs  (frontispiece). 
A    Distinguished    Member   of   the 
Humane  Society. 


CORREGGIO 


NO.  10.  BY  ESTELLE  M.HURLI. 


Introduction 

I.     On  Correggio's  Character  as  IV.     Outline  Table  of  the  Principal 

an  Artist.  Events  in  Correggio's  Life. 

II.     On  Books  of  Reference.  V.     List  of  Contemporary  Paint- 

III.     Historical    Directory   of   the  ers. 
Pictures  of  this  Collection. 

Pictures  with  Interpretative  Text 

The  Holv  Night  (detail).  Ecce  Homo. 

St.  Catherine  Reading.  -.  and  Genii. 

The  Marriage  of  St.  Catherine.  lohn  the  Baptist. 

Ceiling  Decoration  in  the  Sala  del  Christ  Appearing  to  Mary  Magda- 

Pergolato.  lenc  in  the  Garden. 

Diana.  The  Madonna  of  St.  Jerome. 

St.  John  the  Evangelist.  Cupid  Sharpening  his  Arrows 

St.  John  and  St.  Augustine.  1). 

St.  Matthew  and  St.  Jerome.  A  Supposed  Portrait  of  Correggio 

The  Rest  on  the  Return  from  Egypt.  (frontispiece). 

Pronouncing  Vocabulary  of  Proper  Names  and 

Foreign  Words 


v  Contents  anti  Illustrations  & 
TUSCAN  SCULPTURE 

NO.  ii.     BY  ESTELLE  M.  HURLL 

Introduction 

I.     On   some   Characteristics   of      II.     On  Books  of  Reference. 

Tuscan    Sculpture    of    the     III.     Historical    Directory   of    the 
Fifteenth  Century.  Works  in  this  Collection. 

Pictures  with  Interpretative  Text 

Musical  Angels.  St.  George. 

St.  Philip.  Bambino. 

St.  John  the  Baptist  The  Annunciation. 

The  Infant  Jesus  and  St.  John.  The  Ascension. 

Boys  with  Cymbals.  Tomb  of  the  Cardinal  of  Portugal. 

Tomb  of  Ilaria  del  Carretto  (detail).  Equestrian  Statue  of  Gattamelata. 

Madonna  and  Child  (detail).  Shrine,  Church  of  Santa  Croce. 

The  Meeting  of  St.  Francis  and  St.  II  Marzocco. 
Dominick. 

Pronouncing   Vocabulary   of    Proper    Names   and 

Foreign  Words 

VAN      L)  I   CiJV    NO.  12.    BY  ESTELLE  M.  HURLL 

Introduction 

I.    On  Van  Dyck's  Character  as     IV.    Outline  Table  of  the  Principal 
an  Artist.  Events  in  Van  Dyck's  Life. 

II.     On  Books  of  Reference.  V.     List  of  Contemporary  Paint- 

III.     Historical    Directory   of   the  ers. 

Pictures  of  this  Collection.      VI.    Notable  English  Persons  of 

the  Reign  of  Charles  I. 

Pictures  with  Interpretative  Text 

Portrait  of  Anne  Wake.  Charles,  Prince  of  Wales. 

The  Rest  in  Egypt.  St.  Martin  Dividing  his  Cloak  with 

The  So-called  Portrait  of  Richardot  a  Beggar. 

and  his  Son.  The  Crucifixion. 

The  Vision  of  St.  Anthony.  James  Stuart,  Duke  of  Lennox  and 

Madame   Colyns  de  Nole  and  her  Richmond. 

Daughter.  Christ  and  the  Paralytic. 

Daedalus  and  Icarus.  Philip,  Lord  Wharton. 

Portrait  of  Charles  I.  The  Lamentation  over  Christ. 

The  Madonna  of  St.  Rosalia.  Portrait  of  Van  Dyck  (frontispiece). 

vronouncing  vocabulary  of  proper   names   and 

Foreign  Words 


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